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细雨霏霏中,迈着湿漉漉的双脚踏进北京人艺四周漆黑的小剧场,屁股还未坐稳,《花木兰》(编剧、导演李六乙)在一片水世界里流动的意识碎片,已经从京胡的弓弦间弥漫开来……作为小剧场戏剧的《花木兰》,是青年戏剧家李六乙先生“巾帼英雄战争三部曲”继去年九月《穆桂英》之后的又一次对新戏剧的有益探索。全剧的意象就是虚拟的水,这种完全遵循中国戏曲美学原则的传感方式,为小剧场提供了无限的展演空间。水,作为该剧无形的介质,既是矛盾冲突的戏剧动机,也是主人公花木
Drizzle started falling, marching wet feet stepped into the dark turf around the Beijing Art Theater, buttocks not yet firmly, “Mulan” (writer, director Li Liu B) in a water world, the flow of consciousness fragments, has been from As a small theater drama, “Mulan” is a new drama by the young dramatist Mr. Li Liuyi’s “Trilogy of Heroine Wars” following the “Mu Guiying” in September last year Useful exploration. The whole play’s image is virtual water. This kind of sensing, which completely follows the aesthetic principle of Chinese opera, provides an infinite performance space for the small theater. Water, as the invisible medium of the play, is not only the dramatic motivation of contradictions but also the protagonist’s flower