论文部分内容阅读
近些年戏曲舞台艺术有很大发展,越来越精致了。在2007年张曼君导演艺术研讨会上,剧作家罗怀臻曾说,他“隐隐敏感到审美气场的某种变化,就是那种强烈反思质疑的思辨戏剧,逐渐激不起剧场的共鸣了。人们仿佛越来越需要一些精致的、观赏的、甚至娱乐的东西。”这些年舞台艺术的发展证明他这种感觉是准确的。舞台的精致化最需要的是导演,这些年对戏曲精致化贡献最大的也是导演。但在精致化的追求中也出现另一种倾向,就是剧种特点(特别是一些地方小剧种的特点)的削弱,走向了“趋同化”。
In recent years, drama stage art has developed very much and has become increasingly refined. In 2007 Zhang Manjun director of art seminar, playwright Luo Huai-zhen once said that he “faintly sensitive to some changes in the aura of aesthetics, is that speculative drama that strongly re fl ects the questioning, and gradually can not arouse the sympathy of the theater.” People As if more and more need for some exquisite, ornamental, and even entertainment. “These years the development of stage art to prove that he felt this is accurate. The most refined stage is the director, director of the refinement of the greatest contribution to these years is the director. However, another tendency appears in the pursuit of exquisiteness, that is, the weakening of the features of the operas (especially the features of small operas in some places) and the shift towards ”convergence".