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本期发表的二人转《戏说红楼》和小品《他姥爷》在全省二人转、小戏、小品剧本讨论会上备受好评,引发了笔者的诸多思考。凭心而论,以二人转《戏说红楼》为例,说作品有多么深刻的思想内涵或对这段历史生活有什么独特的解释与发现,却也未必,但能够让众人兴奋的是作者大量吸收了时下民间艺人在二人转演出中的多种表现手段,并将其有机地融合在一个连贯完整的叙事故事中,打破了二人转创作在相当一段时期以来,手段贫乏、形式单一的所谓正统模式,使二人转在剧本创作上体现出多样性,表演形式有了新的突破,这种突破带来的最明显效应就是在日益市场化的二人转演出当中,这种文本会受到演员的喜爱、观众的欢迎,用业内的行话说,好使好用。
This issue of the duo turn “opera Red Mansions” and sketches “his grandpa” in the province of two people, small plays, skittles popular seminars, triggered a lot of my thinking. In fairness, taking the two turns to “play the Red Mansions” as an example, we can say that the works have profound ideological connotations or any unique explanations and discoveries about this historical life. However, it is not necessarily true. However, At the moment, folk artists perform various performances in the performance of the duo and combine them organically in a coherent and complete narrative story, breaking the so-called orthodox model of duo and duo, The two revolutions reflected diversity in the script writing and a new breakthrough in the form of performance. The most obvious effect brought about by this breakthrough is that, in the increasingly marketized two-person performance, such texts are favored by actors and the audience are welcome. Use industry jargon, so easy to use.