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焦菊隐编导的话剧《智取威虎山》,未如《茶馆》般饮誉盛名,然其作为焦氏“话剧民族化”探索的重要产品,尤其在走向样板戏《智取威虎山》过程中,有奠基性地位。焦氏借用古典戏曲构成法,安排场次、结撰剧情,大小场子交错穿插。戏曲构成法的运用,致使话剧人物某种程度转向程式化的戏曲角色,继而大量移用戏曲舞台表演手法,剧场性浓厚。《智》剧通过写实的舞台布景、生活化的细节描写等,营造出生活真实感,虚实相合,成功地融戏曲精神于话剧之形。而话剧大小场的场次安排,也为日后叱咤一时的样板戏《智取威虎山》奠定了基本的场次结构。
Although Jiao Ju-hsien’s drama Zhi Zhi Wei Hu Shan is not as famous as the “Teahouse”, it is an important product explored by Jiao’s “drama nationalization.” In particular, The process, the foundation position. Jiao borrows the composition of classical Chinese drama, arranging the scenes, ending the story, the size of the field interlaced. The use of the composition of the composition of the drama led the drama characters to some extent to turn into the stylized drama roles, and subsequently shifted their use of drama to theatrical performances. “Zhi” drama through the realistic stage scenery, details of the description of life, etc., to create a realistic sense of reality, the actual situation, successfully melodrama drama in the shape of drama. The size of the play field arrangements, but also for the future model opera “Zhi Wei Wei Mountain” laid the basic structure of the venue.