活的话剧舞台空间,布景和灯光应该有它自己的表述方式和内在情绪。在话剧舞台空间设计的实践中,塑造环境和渲染气氛成为布景和灯光的主要功能,但其作用不应止于此。观众理应看到布景和灯光在话剧中的内在生命,和由此创生的一个活的话剧舞台空间。心理学家皮亚杰在对儿童心理的研究中发现,儿童对于“活”的理解就是“动”的。动是运动性,活是生命性。没有全然静止的话剧舞台空间,演员在表演,布景在转换,灯光在变幻。但布景和灯光在一些 Living drama stage space, scenery and lighting should have its own way of expression and internal emotions. In the practice of theatrical stage space design, the environment and the atmosphere are the main functions of setting and lighting, but its function should not stop there. The audience should see the inner life of the scenery and light in the drama, and a live theater stage created by this. Psychologist Piaget found in the study of children’s psychology that children’s understanding of “living ” is “moving ”. Movement is exercise, life is life. There is no completely static drama stage space, actors in the show, set in the conversion, the lighting is changing. But the scenery and the lights are some