《黛诺》反映的是解放后云南景颇族人民,在党的领导下,为摧毁山官封建统治,摆脱穷困落后面貌,坚决走社会主义道路所进行的尖锐复杂的斗争。作为导演之一,在排演这出戏的过程中,摸索到一些经验,现在我想主要从人物塑造方面谈一谈自己的体会。将人物塑造好在开始决定排《黛诺》的时候,有的演员曾经认为,这出戏既没有曲折的情节,也没有激烈的斗争场面,演出来会“瘟”,不容易抓住观众,演员本身的技术技巧也很难得到充分的发挥,因此对排演这出戏存在着一定的抵触情绪,或者缺乏信心。有的演员,则特别热衷于了解景颇族人的动作、穿戴以及风俗习惯等方面的特点,甚至把这些作为创作上的主要问题对待。根据这样一些情况,我们觉得有必要在正式进入排练之前,先认真统一创作 “De Novo” reflects the sharp and complicated struggle of the Jingpo people in Yunnan after the liberation under the leadership of the party, in order to destroy the feudal rulers of Shan officials, get rid of the poor and backward people and resolutely follow the socialist road. As one of the directors, I found some experience during the rehearsal of the play. Now I want to talk about my own experience mainly from the characters’ shaping. When the characters are set out to begin making “De Novo,” some actors once thought that there was no tortuous plot or fierce fighting scenes in the play. They would not “plague” the performance and would not easily grasp the audience. The performer’s technical skills are also very difficult to be fully exhibited, so there is some resistance or lack of confidence in rehearsing the play. Some actors are particularly keen to understand the Jingpo people’s movements, wear and customs and other aspects of the characteristics, and even treat them as the main creative issues. According to such circumstances, we think it is necessary to earnestly unify the creation before formally entering the rehearsal