黄梅戏艺术年的新剧目展演,没有一台是在中心舞台上表演的,全都走进了镜框式舞台,在“第四堵墙”后表演,然而就在歌德所说的“代表世界的几块木板”的舞台上,六个剧目都把自己介绍给观众的故事,表现得那么耐听耐看,有的叫人欢乐开怀,有的令人荡气回肠.故事所发生的典型,使其在舞台上出现,就必须对物理空间进行艺术处理,成为开展剧情,展示人物形象的规定情景.六个剧组对自己的演剧空间都有自己的构想,六台戏六个样.很显然,都在融入导演意识上,下了一定的功夫,使用了不同的造型语言构造了不同的环境形象.六台戏中有一台古装戏,两台现代戏,三台清装戏,无论题材是古是今,在舞台空间处理上,没有一台是绝对写实,也没有一台绝对 None of the new repertoire performances of the Huangmei Opera Art Year performed on the center stage. All of them went into the stage of the picture frame and performed after the “Fourth Wall”. However, as Goethe said, “a few pieces representing the world Wooden ”stage, the six repertoire to introduce themselves to the audience’s story, so much at ease to listen to see, some people happy, some of them soul-stirring .Take the typical story, make it appear on the stage , It is necessary to carry out the artistic treatment of the physical space and become the stipulated scene for carrying out the plot and displaying the character image.The six crew members have their own conceptions of their own theater space and six sets of six plays.It is clear that they are all integrated into the director Consciousness, under a certain amount of effort, using different styling language to construct a different environment image.Liu Taixi has a costume drama, two modern drama, three sets of Qing Zhuangxi, no matter the theme is ancient is this, on the stage No space is treated as absolute reality, neither is absolute