论文部分内容阅读
长期以来,当人们在大谈戏剧革新、创新的时候,剧作家王仁杰却以不变应万变,从不追赶新潮,也不太愿意从西方戏剧中间吸收所谓创新的养料,而是一头扎进传统,注重剧种意识的张扬,注重戏曲性、文学性、古典性等的回归,自觉接续“剧诗”等戏曲传统和源远流长的文脉。所以,像梨园戏原创剧目《董生与李氏》、《节妇吟》,像包括今天闽剧《红裙记》在内的传统戏改编剧目,总给人一种独辟蹊径、别开生面的印象。让我们在纷纷扰扰的现实中,在非常喧嚣非常繁华
For a long time, when people talked about dramas innovation and innovation, the playwright Wang Renjie never changed their course, never caught up with fashion, nor was he willing to absorb the so-called innovative nourishment from western drama, Into the tradition, pay attention to the drama of publicity, pay attention to drama, literary, classical and other regression, consciously follow the “drama poem ” and other traditional opera and long tradition. So, like Li Yuan play original repertoire, “Dong and Lee”, “Festival Woman Yin”, including today, including the Minxu “Red Skirt”, including the traditional drama repertory, always give a person a new way, do not give a vivid impression. Let us in a lot of disturbing reality, very noisy very prosperous