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由台湾现代派文学的“第一面旗”白先勇根据自己的同名小说改编的话剧《游园惊梦》,(载本刊1987年九期—编者)在大陆“独创精神极强”的胡伟民导演筹措下,于今年四、五月分别在广州、上海公演。该剧叙述的只是一桩生活中普通的事件,并无大波大澜,而内涵却是很深的,有着“非凡的人生意蕴”,传达出“戏如人生人生如戏”的悲剧意识,一种人生价值的失落感,永远无法觅回的失落感撼人魂魄。这部戏为了能通过淡淡的人生表现编导对人生观察的真实,对话剧艺术的载体进行了变形,不再苟求叙述方式和表现手法的再现性。从这里,笔者想到了我们新时期话剧艺术的某些形式特征。
From “The First Banner” of Taiwan’s Modernist Literature Bai Xianyong’s drama “Garden Dreams” (based on 1987 edition) edited by Bai Xianyong, based on his novel of the same name, was raised by director Hu Weimin In April and May this year, respectively, in Guangzhou, Shanghai performance. The play narrates only a common event in life, there is no big waves, but the connotation is very deep, with “extraordinary life meaning” to convey the “drama as life drama” tragedy consciousness, one A sense of loss of the value of life, will never be able to recover the sense of loss shaken soul. In order to show the director’s real life observation through a touch of life, this film has transformed the carrier of drama art, and has no longer sought to reproduce narrative style and expression technique. From here, I have come to mind some of the formal features of our drama in the new era.