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全国舞台美术展览是三十年来舞美战线巨大成绩的展示,出现了许多我们没有见到过的新东西,使人目不暇给。这些成绩是在解放以前非常薄弱的舞台美术基础上发展起来的,是极不容易的,也是非常可观的。今天,我想谈谈关于演出形式和舞台美术多样化的问题。三十年来我们的巨大成绩已为这次展览所证明,可是若和一些戏剧文化发达的国家相比较,不论在剧场、设备、物质条件、理论出版方面,甚至在创作方面,也还有一段差距。在创作上的差距之一,是我们对舞台美术多样化的探讨,从理论和实践上都起步太晚太慢。解放前,我们的舞台美术也曾表现过创作上的多样化,我仅以现在能看到的材料为例,
The National Stage Art Exhibition is a showcase of the great achievements of the three-stage U.S.-led U.S.-led wars and the U.S.-U.S. armed forces. Many new things that we have not seen have come into being so dazzling. These achievements, which were developed on the basis of very weak stage art before the liberation, are extremely difficult and very impressive. Today, I would like to talk about the issue of the diversity of performance forms and the stage art. Our great achievements for the past 30 years have been proved by this exhibition. However, if compared with some countries with dramatic culture, there is still a gap between the theater, the equipment, the material conditions, the theoretical publishing, and even the creative aspects . One of the creative gaps is our discussion of the diversity of stage art, both too late in theory and in practice. Before the liberation, our stage art also showed creative diversification. I can only take the material that we can see now as an example.