在了解了剧本的主題、主題思想、基本冲突之后,是不是导演分析剧本的工作就做完了呢?沒有。因为主題、主題思想、基本冲突的性質,只是剧本內容的文字含意,它們是不能拿来表演的。在舞台上只能表演剧中人物为了达到他們的目的做了些什么,也就是說他們采取了些什么行动。在剧本中具体存在着的是人物的行动,所以說行动是戏剧的基础。我們可以看見,剧中人物为了达到一定的目的,采取了一系列各式各样的行动。这些奔赴共同目标的行动形成了一条貫串整个剧本的軸綫,它吸引着剧中的全部人物,有的“拥护”,有的“反对”。这条“拥护”的軸綫我們就称它为貫串行动綫。那些妨碍或反对这些人物达到目的的人們所采取的一系列的行动,便形成反貫串行动綫。簡称反行动。每个好剧本都有一条貫串行动綫,同时也必然伴随着一条反貫串行动线,反貫串行动綫是針对着貫串行动线而出 After understanding the theme of the script, the theme, the basic conflict, is not the director to analyze the script’s work done? Because of the theme, theme, the nature of the basic conflict, just the text content of the script content, they can not be used to perform. On the stage can only perform what the characters did to achieve their goals, that is, what action they took. What actually exists in the script is the actions of characters, so action is the basis of drama. We can see that the characters have taken a series of various actions to achieve their goals. These moves toward a common goal form an axis that runs through the entire script, attracting all the characters in the play, some “support” and some “objections.” We call it a consistent line of action on this “supportive” axis. The series of actions taken by those who obstruct or oppose these people to achieve their goals constitute a series of anti-parallel movements. Referred to as anti-action. Each good script has a consistent action line, but also inevitably accompanied by an anti-through string of lines, anti-through string line of action is directed at the line of action out