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四月的北京,春意正浓。笔者就戏曲表演与剧本的关系问题走访了全国政协委员、当代文化名人、著名剧作家魏明伦先生。陈:纪念徽班进京二百周年期间,有的同志撰文认为:京剧意象世界的生成,“决定性的不是第一度创作(剧作家的创作),而是第二度创作(演员的表演)”,“京剧的历史不是剧本史,而是演员史,特别是名演员史(以及与此紧密联系的剧场史和观众史)。”还有一些同志认为京剧是演员的艺术,“角儿”的艺术,不是剧作家的艺术。对此您有何看法?
April in Beijing, spring is thick. The author interviewed members of the CPPCC National Committee, contemporary cultural celebrities and famous dramatist Weiming Lun on the relationship between the drama performance and the script. Chen: During the commemoration of the two-hundredth anniversary of the emblem class to Beijing, some comrades wrote that the formation of an imagery world of Peking opera “is not the decisive first creation (dramatist’s creation) but the second creation (performer’s performance) ”“ The history of Beijing Opera is not the history of the script, but rather the history of the actors, especially the history of the famous actresses (and the history of the theater and the audience that are closely linked with them). ”Some comrades also consider Peking Opera as the actor’s art, The art is not the playwright’s art. What do you think of this?