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文章以当下舞台实践中戏剧歌队形式的运用作为考察的切入点 ,追根溯源 ,自古希腊悲、喜剧 ,到布莱希特、迪伦·马特、阿尔布卓夫 ,直至我国新时期戏剧的代表剧目 ,对作为戏剧母体的歌队形式在一、二度创作中的表现 ,进行了简括、历史的回望与追寻。尤其在我国新时期导演艺术实践的创作领域体现出的回归与超越 ,归结出了歌队形式作为舞台调度手段 ,所独具魅力的美学特征与功用。
The article takes the application of the form of theatrical song team in the current stage practice as the starting point for investigation, tracing the origin, from the ancient Greek tragedy and comedy, to Brecht, Dylan Matt, Albuzhuo until the representative of the drama of our country in the new period Repertory, as the mother of the theatrical form in one or two degrees in the performance of the creation, a brief, historical look back and search. Especially in the new era of China’s directorial art practice reflects the return of the field of creation and beyond, attributed to the form of the song as a means of scheduling the stage, the charm of the unique aesthetic features and functions.