论文部分内容阅读
88年。秋末冬初的多伦多很美。我在这里的演艺话剧团排演的话剧《耶稣·孔子·披头士列侬》里担任舞台设计。导演史东森先生回加拿大前把沙叶新先生这部新作的中文本交给我,希望我能赴多伦多参加排演工作。在加拿大排演中国作家的剧作这还是第一次,邀请中国的舞台设计也是首次。我很高兴能获得这个机会。临行前,我根据史东森先生寄来的剧场技术资料做了一些案头工作,进行了初步的构思。着手进行具体设计还是到了多伦多才开始的。演出是在多伦多工场剧院。我原以为该剧院可能是一个工厂的俱乐部,后来才知道这个剧场已有一百多年历史了。开放式舞台,观众席有三百多个座位,在多伦多属中型剧场。当地有三千座位的大歌剧院,也有九十左右座位的小剧场。而这种几百人左
88 years. Toronto early autumn and winter is beautiful. I was a stage designer in the drama “Jesus Confucius Beatles Lennon,” rehearsed by the Performing Repertory Theater here. Director Mr. Stewart went back to Canada before handing over the Chinese version of this new work, Mr. Sha Ye Xin, and hoped that I could go to Toronto to participate in the rehearsal. For the first time in rehearsing the dramas of Chinese writers in Canada, it is also the first time to invite Chinese stage design. I am happy to get this chance. Prior to departure, I made some desk work based on the theater technical information sent by Mr. Shi Dongsen and carried out preliminary ideas. To proceed with the specific design or to Toronto before it started. The show is at the Toronto Factory Theater. I thought the theater could be a factory club, and later learned that the theater has been more than a hundred years old. Open stage, the auditorium has more than 300 seats, is a medium-sized theater in Toronto. The local 3,000-seat Grand Opera House and 90-seat small theater. And this kind of hundreds left