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十五年来,我一直在海防文工团搞舞台美术工作。有一段时间,设计思想上崇“洋”崇“大”,总想向大城市大剧场看齐。一九五六年进行大型歌剧《白兰花》的舞台设计时,由于这种错误思想的指导,单纯追求舞台效果,立体感、层次感,弄得网景一道又一道,立体布景庞大得使海岛最大的礼堂都无法容纳。其中有一棵大树需要五、六个人才能抬走,同志们说:“这棵树翻过来可以当船用,把全团人员装到小岛去演出!”这个戏从剧作到舞台设计都不符合面向海岛的原则,彩排之后就夭折了。我们及时对这些错误思想进行了检查批判。上级党委也再一次强调指出,海防文工团的节目要大中小结合,以中、小为主,必须面向海岛,面向连
For 15 years, I have been doing stage art work at Haiphong Arts and Crafts Corps. For some time, the design philosophy advocated “foreign” Chong “big”, always want to show the big city theater. In 1956, when performing the stage design of the large-scale opera “White Orchid”, due to the guidance of such erroneous ideas, simply pursuing the stage effects, the three-dimensional sense and the layered feeling made Netscape one after another. The three-dimensional scenery was so large that the island The largest auditorium can not accommodate. Among them, one tree needs five or six people to carry away, and the comrades said: “This tree can be used as a ship when it is turned over, and the entire regiment is installed on the island to perform!” This play is neither theatrical nor the stage design In line with the principle of facing the island, after rehearsal died. We promptly checked and criticized these wrong ideas. The party committee at a higher level also stressed once again that the programs of the Haiphong Arts and Culture Corps should be integrated into the medium, small and medium-sized programs and must be oriented toward the island and facing the company