剧本是文学作品,凭借的是文字手段。要想把它搬上舞台,就得运用各种不同的直观性造型表现手段,即演员和舞台美术(布景、灯光、服装、化妆、道具、音响效果等)所构成的舞台艺术形象。那么,作为导演,我是怎样将各种不同的造型手段综合起来使其为创造尽可能和谐统一的舞台艺术形象发挥作用呢?这还得从剧本谈起。因为剧本是二度创作的基础。对剧本立意理解的是否准确,决定于体现的是否对头。在搞案头(阐述剧本)时,对上演这出戏的积极意义我没有多说。这是一部再现历史的真实画卷,观众一目了然。只要演职员能把剧作反映的历史生活比较忠 Script is a literary work, by virtue of the means of writing. To get it onto the stage, you have to use a variety of intuitive modeling techniques, namely stage art images composed of actors and stage art (scenery, lighting, clothing, makeup, props, sound effects, etc.). How, then, as a director, how do I combine the various styling tools to make it as effective as possible to create a stage art image that is as harmonious and unified as possible? Because the script is the basis of second degree creation. Whether the understanding of the scenario is accurate or not depends on whether it is right or wrong. I did not say much about the positive implications of staging this play when I was working on the desk. This is a true picture of the history of reproduction, the audience at a glance. As long as the credits can reflect the history of drama more loyal