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俄国和苏联剧作家洞察到音乐的力量,把音乐抓在自己手里。当作剧作构思的一部分,在作品里常常直接規定在什么地方需要音乐。今天,音乐已成为苏联話剧导演手中强有力的手段,用来表現剧作的主題,刻划人物,提高演出的思想,丰富演出的构思,加强演出对观众的情緒感染力。富有情緒感染力地揭示和深化剧作者的思想,是話剧演出中音乐的基本功能。在話剧演出中,只有当音乐帮助了演員的表演,推动了戏剧动作的发展(而不是去代替和遮盖演員的表演,造成演員的偷懶和表演技巧的退化)的时候,音乐的威力才得以发揮。在苏联剧場的艺术实践中,一直是既反对輕視音乐在話剧中的作用,也反对过份夸大这种作用,反对錯誤地对待音乐和表演的关系的。
Russia and the Soviet Union playwright insight into the power of music, the music caught in their own hands. As part of the composition of the play, often in the work where the need for music directly. Today, music has become a powerful tool in the hands of the Soviet dramatis personae to express the theme of the play, characterize the persona, enhance the idea of the performance, enrich the concept of the performance, and enhance the emotional appeal of the performance to the audience. Emotional contagious to reveal and deepen the playwright’s thought is the basic function of music in theatrical performances. In drama, the power of music can only be achieved if the music helps the performer’s performance and promotes the development of theatrical action (instead of replacing and obscuring the performance of the performer, resulting in the laziness of the performer and the degeneration of performance skills) Play In the artistic practice of the Soviet theater, it has been opposed to the role of contempt for music in the drama, and also opposed the excessive exaggeration of this role and opposed the mistreatment of the relationship between music and performance.