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童道明在1991年12月7日《文汇报》发表文章《话剧〈死水微澜〉观后》,对成都话剧团晋京参加交流演出的四川方言话剧《死水微澜》给予较高评价。他认为:看完《死水微澜》的演出,首先想到要表彰的不是小说而是话剧。该剧在北京最后一场演出谢幕时,有位青年观众甚至激动得振臂高呼:“话剧万岁!”一位接连看了两场《死水微澜》的导演则喜形于色地说:“这才叫话剧!”其实,在所有参加交流演出的二十余台话剧中,就数《死》剧与我们习惯看到的话剧样式相距最远。一走近剧场,看到它的舞美.一条接着一条排在舞台两侧的“白头贴子”。舞台上营造的不是那个时代的物质坏境,而是死水一般的精神背景。再说表
Tongdao Ming in December 7, 1991 << Bundesliga >> published an article << Drama >> after the concept of Jin Jing participated in the exchange of Sichuan dialect drama ’stagnant Micronesia’ give a higher rating. He thinks: After reading the performance of “Rascal”, the first thing to think about is not drama but drama. When the show debuted in Beijing’s last show, a young audience shouted with excitement: “Long live the drama!” One director who saw two “stagnant water” one after another said with great joy: “This is called In fact, among all the twenty plays participating in the exchange performance, the number of ”dead“ plays is farthest away from the drama style we are accustomed to seeing. As soon as I approached the theater, I saw the beauty of it, one by one, ”white-headed posters" on both sides of the stage. The stage is not to create the material environment of the times, but the general context of stagnant water. Say the table