去年末,日本东京《朝日新闻》刊登了一篇戏剧记者对一年来戏剧舞台的回顾综述。他说:1989年是从昭和时代转向平成时代的一年,也是“回顾之年”。著名女歌唱家美空云雀之死,使人们回忆起战后演艺史,八十二岁的歌舞伎老演员尾上松绿的去世,让人们感到昭和时代的歌舞伎舞台的大幕已轻轻关闭。同时,1989年在戏剧界也出现了新的信息。其一是:一部分演传统戏剧的歌舞伎演员试图突破固有的传统框框进行了新的“实验”。其中最有代表意义的是由市川猿之助领衔的歌舞伎演员与中国京剧演员联合演出的《龙王》,他们把日本和中国的传统戏剧的差异和共同点巧妙地溶合在一个新的舞台上,引起了社会的极大反响。歌舞伎名旦坂东玉三郎在波兰导演指导下演出了根据陀斯妥耶夫斯基原作改编的《娜塔莎》。成功地在一出戏里扮演了男女两个角色。其二是:小剧场戏剧的变化。过去曾以荒诞的情节和轻松的语言对 Late last year, Tokyo, Japan, “Asahi Shimbun,” a drama reporter published a review of the theater stage review. He said: 1989 was a year from the Showa era to the Heisei era and also a “year of retrospect.” The death of a famous female singer, the American Skylark, reminds people of the post-war acting history. The death of an old 82-year-old kabuki artist who died at the end of Songdo makes people feel that the curtain of the Kabuki stage in the Showa era has been gently closed. At the same time, new information emerged in theater in 1989. The first is that part of the kabuki actors who play the traditional drama try to break through the inherent traditional framework and carry out a new “experiment.” One of the most significant is the “Dragon King” performed by a Kabuki actor led by Ichikawa Ape’s aide and Chinese opera singers who skillfully blend the differences and similarities of the traditional Japanese and Chinese plays on a new stage, Aroused great social repercussions. Kabuki name Danzabashi Tamajiro Saburo performed under the guidance of the Polish director, based on Dostoyevsky’s adaptation of “Natasha.” Successfully played a male and female roles in a play. The second is: theater theater changes. In the past, there were absurd plots and easy language pairs