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早在半个多世纪以前,方言话剧就活跃在我国大江南北的舞台上了。但近年来确实是久违了,一些年轻同志甚至以为它是“新剧种”哩。然而它所蕴存的勃勃生机越来越引人注目。那丰富多彩的题材,耐人寻味的情节,浓郁的生活气息,诙谐幽默的地方语言,强烈地吸引着广大观众。就以福州来说,五年来共演出八台方言话剧,两台超百场。其它的也在五十场以上。方言话剧竟有这么大的吸引力,其奥妙何在?笔者从事方言话剧创作及表演工作多年,以管窥之见,认为首先要端正对方言话剧的认识。有不少人一提起“方言话剧”,就很自然地将其与“庸俗”挂起钩来。这显然是一种误解。事实上方言话剧应是通俗而非庸俗。象广州的《十字街四重奏》,四川的《英雄炮制法》等等就都是反映现实生活的优秀方言话剧,它们理所当然地受到了观众的热情欢迎。
As early as half a century ago, dialect drama was active on the stage of our country from north to south. However, it has indeed been a long absence in recent years. Some young comrades even thought it was a “new drama.” However, the vitality it contains is attracting more and more attention. That rich and colorful theme, intriguing plot, rich flavor of life, humorous local language, strongly attracted a large audience. To Fuzhou, five years have performed a total of eight dialects drama, two super hundred field. Other are also more than 50 games. Dialect drama has such a big attraction, the mystery of what? I engaged in dialect drama creation and performance for many years, with a glimpse of the view that the first to correct the dialect drama awareness. Many people mention the “dialect drama”, it is natural to hook it with “vulgar”. This is obviously a misunderstanding. In fact dialect drama should be popular rather than vulgar. The “Crossroads Quartet” in Guangzhou, the “Sichuan Heroes Processing Law,” and so on are excellent dialect plays that reflect the real life. They are, of course, warmly welcomed by the audience.