结构篇分场·分幕随着舞台条件的发展,表现范围的扩大,戏曲剧本在传统分场结构之外,出现了使用布景规范环境的分幕形式。这是戏曲结构推陈出新表现在形式方面的重大突破,也是同行们在写作实践中经常碰到并且认为值得重视的一项新的课题。这里所讲的分幕,是相对分场而言,两者之间最大的区别,与其说是由于分场无景、分幕有景,因而处理舞台时间、空间有所不同,莫若更直接地说,分场是一场接连一场,锣鼓不停地“连轴转”,分幕则是大幕一落,一切戛然而止。换句话说,两者的区别只在于大幕 Structure articles Divisions and sub-screens With the development of the stage conditions and the expansion of the scope of performances, the drama scripts appeared outside the traditional sub-field structure with the sub-screen forms that use the setting norms. This is a major breakthrough in the formal performance of the drama structure, and is also a new topic that colleagues often encounter in the writing practice and consider it worthy of attention. The subtitle here is relatively speaking, the biggest difference between the two, not so much because of the sub-scene without the scene, the sub-screen has a view, so deal with the stage of time and space are different, not more directly Said that the sub-field is a series of one after another, percussion constantly “even axis”, sub-screen is the curtain fell, all abrupt end. In other words, the difference between the two lies only in the big screen