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说完结构和冲突,还要不要花专门的篇幅说明一下“情境”的作用呢? 在广义的“戏剧创作论”之中,“情境”,是极为重要的章节.但是,在中国的“民族戏曲创作论”中,“情境”所占的地位不甚重要。 最近,我看了一出新编历史剧,山西蒲剧《关公与貂蝉》。从这出戏我感觉到.戏曲,像其它戏剧形式一样,“情境”的确定,也是创作成败的一个重要因素,不可轻视“情境”的作用。
Speaking of the structure and the conflict, but also do not spend a special space to explain the “situation” of the role? In the broad sense of “drama creation”, the “situation” is an extremely important chapter.However, in China’s “nation Opera creation theory ”, the“ situation ”of the position is not important. Recently, I read a new historical drama, Shanxi Puju “Guan Gong and Diao Chan.” From this drama, I feel that opera, like other forms of drama, determines the “situation”, which is also an important factor in the success or failure of creation, and can not underestimate the role of “situation”.