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中国舞台美术到建国初期,它的创作才真正开始向前发展。舞美创作一面继承和发扬民族传统,一面借鉴外来的东西,开拓、创造现代风格,或将传统与现代相结合,适应和满足现代观众的审美需求。舞台美术家们从各个方面的探索、追求和努力,使舞台美术逐渐从写实布景的独占戏剧舞台局面,变成了形式多样化的局面。1987年在第一届艺术节中,首都10个舞台美术家的展览,表现出一个共同的特点:他们各人都试图从抽象化中追求深邃的意境,以新颖的舞台形象,表现现代的审美特点和大胆调动观众的想象力,并为演员的表演动作创造更切合需要的时空自由。作品以有个性的中性景为主,舞台上的抽象化色彩很浓。显示出舞台美术创作的新趋势。但是,剧场的不景气,没有更多的新剧目上演,亦没有给舞台美术提供充分发展创作的实践机会,舞台美术家亦受自身思想的限制,
Chinese stage art to the early days, its creation really started to move forward. On the one hand, inheritance and development of the national traditions of theatrical productions, drawing on foreign things, opening up, creating modern style, combining traditional with modern, and adapting to and meeting the aesthetic needs of modern audiences. Stage artists from all aspects of exploration, pursuit and efforts to make the stage art gradually from the realistic scenery of the stage of the exclusive drama into a variety of forms of the situation. In 1987, at the first festival, the exhibitions of the ten stage artists in the capital showed a common characteristic: each of them tried to pursue the profound artistic conception from the abstract and represented the modern stage with the novel stage image Features and daring to mobilize the imagination of the audience, and to create more appropriate space-time freedom for the performers’ performance. The work is centered on a neutral, neutral personality, and the stage is abstracted in color. Shows a new trend of stage art creation. However, the downturn of the theater, no more new plays, nor the practical opportunity of providing full development and creation to the stage art, the stage artists are also restricted by their own thinking.