《渴望》之前,我们两人曾写过话剧、电影和电视剧的剧本。但参与这样一部大型室内剧的剧本创作,还是头一次。谈起室内剧的写作问题,首当其冲的一个问题就是:与非室内剧(即基本按照电影方式拍摄的电视剧)以及话剧、电影剧作相比较,室内剧在剧作上有没有它的特殊性,如果有,这些特殊性又是什么呢? 一、相比而言,室内剧剧作在整体创作中的位置突出了,提升了。这样说,倒不是因为干什么吆喝什么。室内剧剧作位置的突出与提升,是由它的特殊形态决定的。从前有句话:剧本是“一剧之本”。这只是在一般意义上强调剧本的重要性。事实上剧作在不同样式的“剧”里实际占有的位置是不尽相同的。在戏曲创作中,演员的表演占有突出地位,以京剧为例,各种派别如梅派、程派等等,它的代表人物不是作家,也不是导演,而是名角。现代戏曲创作的情形虽略有改变,但演员的核心作用并没有变。最近河北梆子剧院在排演一出新戏《大报仇》,裴艳玲在这出戏里同时扮演四个人物、四个行当:黄忠(文武老生)、刘备(老生)、关兴(短打武生)、赵云(长靠武生), Before “craving,” both of us wrote scripts for dramas, movies, and dramas. However, for the first time, it is the first time to participate in the script writing of such a large indoor drama. One of the first problems to be solved when talking about the writing of an in-theater play is that whether the in-house play has its particularity in a play compared with a non-in-house play (that is, a drama basically taken according to the movie) and a drama or a movie play, If so, what are these particularities? In contrast, indoor theater plays a prominent role in the overall creation and has been upgraded. This is not because of what to drink. The prominence and promotion of the location of the indoor drama are determined by its special shape. Once upon a time there is a saying: the script is “a play of this.” It is only in the general sense of emphasizing the importance of the script. In fact, play in different styles of “drama” actually occupy the position is not the same. In the drama creation, the performers’ performances occupy a prominent position. Taking Beijing Opera as an example, all kinds of schools, such as Mei School and Cheng School, are not only writers, nor directors, but famous actors. Although the situation of modern drama has changed slightly, the core role of performers has not changed. Recently, Hebei Chizi Theater rehearsed a new movie, “Great Revenge.” Pei Yan-ling plays four characters at the same time in this play. There are four businesses: Huang Zhong (Lao Wen), Liu Bei (Laosheng), Guan Xing Zhao Yun (rely on Takefu),