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一九三六年春,我们中国旅行剧团辗转来到上海,在卡尔登戏院(今长征剧场)演出《茶花女》、《复活》、《雷雨》等剧。这时,传来了欧阳予倩将为我团排演曹禺新作《日出》的消息。团内人人雀跃,庆幸自己又一次接受前辈艺术家的教导。排演开始,欧阳老首先指出:戏曲是重唱的,而话剧则讲究说话,语为心声,话若说不清楚,说不准确,又如何去探索人物的心理活动和体现形体动作呢?他要求每个演员必须在进排演场之前先要熟透对白。我当时年轻幼稚,不求甚解。排演轮到我上场了(我演李石清),见着排演场上一丝不苟的严肃
In the spring of 1936, our China tour troupe came to Shanghai and performed “Camellia”, “Resurrection” and “Thunderstorm” at the Carlton Theater (now Changzheng Theater). At this time, came Ouyang Yuqian rehearsal for my play Cao Yu’s new work “Sunrise” message. Everyone inside the group excited, glad they once again accept the teachings of older artists. Rehearsal began, Ouyang Lao first pointed out that: the opera is a chorus, while the drama is talkative, the language is the voice, if the words are not clear, that is not accurate, and how to explore the psychological activities of the characters and the performance of physical action? He asked every The performers must be familiar with the dialogue before they enter the stage. I was young and naive, not understanding. Rehearsal of my turn (I played Li Shiqing), met the meticulous solemn solemn performance