论文部分内容阅读
因执导京剧《曹操与杨修》和《盘丝洞》而得到专家和观众肯定的京剧导演马科,在1991年11、12月号《艺木界》上发表的《人吃牛奶和牛吃牛奶》的文章中,谈到了“把话剧的心理技巧移植给戏曲演员”的问题。作者说自己曾是个“不大合格的京剧演员”,因演哪一行都成不了器,命运逼着他成了个“生、旦、净丑”都可演的“京剧杂家”;后来,因一个特殊的机会,使他有幸受到苏联专家主持的有关斯坦尼斯拉夫斯基体系的严格训练,成了一名合格的话剧演员。作者认为,京剧和话剧的双重训练,为他的导演工作打下了较为扎实的双重根基,使他有可能通过对
Peking Opera director Marko, who has been recognized by experts and audience for his opera “Cao Cao and Yang Xiu” and “Pan Si Dong”, published the book titled “Eat Milk and Cow Eat Milk in November and December 1991” “Article, talked about the” psychological skills of drama to opera actors “issue. The author states that he was a ”not-so-qualified Beijing opera actress“, and that he was unable to act in any line because of his performance. His destiny forced him to become a ”Beijing opera miscellaneous character“ who could play ” A special opportunity made him fortunate enough to undergo rigorous training on the Stanislavsky system under the auspices of Soviet experts and to become a qualified drama actor. The author believes that the dual training of Beijing opera and drama has laid a solid foundation for his director’s work and made it possible for him to pass