中央实验话剧院第三次把《桃花扇》搬上舞台,花开三度,引起人们的褒贬议论,这是很自然的事。我认为该剧演出形式的处理,是简练、清晰而统一的。一组共用斜平台、几片悬挂的竹帘装饰,构成了舞台形象的基本形式因素,所有其它形象的形式处理都统一在这一基本形式的构成里。艺术作品的这种形式上的统一,是通往艺术佳品的桥梁和通道。《桃》剧的演出设计者王培森,没有在这个桥头口止步,他还有自己进一步的追求。以实际艺术处理看,力求做到既是民族的,又是具有现代感的,并要符合《桃花扇》这一剧本的具体要求,三者的统一,是这次演出造型艺术处理的基本要求。《桃》剧的演出处理,突破传统处理方式,融进现代审美意识的表现是多方面的,比如,在整体处理上淡化了具体环境地点的表现,加强了环境的中性素质,使内景和外景的界限淡化,而以表达情调、烘托气氛为侧重点。大斜平台的运用,使演员同观众间的距离显得接近了,突出了演员、增加了场面的层次 For the third time, the Central Experimental Drama Theater put “Peach Blossom Fan” onto the stage and spent three times in awe. It is very natural that people should be criticized and condemned. I think the form of the show’s handling is concise, clear and uniform. A group of common inclined platforms and a few hanging bamboo curtain decorations form the basic form factor of the stage image. All other forms of image processing are unified in this basic form of composition. This formal unity of the artwork is the bridge and gateway to the best of art. Wang Peisen, the performance designer of “Peach” play, did not stop at this bridge and he still had his own further pursuit. With the actual artistic treatment, it strives to be both national and modern, and meets the specific requirements of the play “Peach Blossom Fan.” The unity of the three is the basic requirement for the performance of this performance art. The performance of “peach” plays is multifaceted in breaking the traditional treatment methods and integrating them into the modern aesthetic sense. For example, in the overall handling, the performance of specific environmental places is weakened, the neutral quality of the environment is strengthened, and the interior and Exterior of the desalination, but to express sentiment, heighten the atmosphere as the focus. The use of a large inclined platform makes the distance between the actor and the audience appear close, highlighting the actor, increasing the level of the scene