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在当今这个开放的年代,我们的戏剧思维和戏剧实践正日趋开放。所有的戏剧的开放,我认为,都必须面向观众。对一切戏剧实验和探索活动的得失,观众是理所当然的检验者。不仅如此,观众还应当成为一切戏剧实验和探索活动的积极参与者。一批有志于振兴话剧的人士在倡导这样一种主张:要充分发挥话剧艺术在同观众直接交流上的优势。我以为,和观众的交流,最主要的是要调动起观众在欣赏时积极的创造心理,让观众随着剧情的变化,与演员一起“演戏”。一般情况下,演员是在舞台的时空里演戏,而观众则主要是在自己思维的时空中“演戏”。
In today’s era of openness, our dramatic thinking and dramatic practice are becoming more and more open. All the drama’s opening up, I think, must be for the audience. Audiences take for granted the test of all the pros and cons of theater experimentation and exploration. Not only that, the audience should also become an active participant in all theater experimentation and exploration activities. A group of people who are interested in rejuvenating drama are advocating the idea of giving full play to the advantages of drama art in direct communication with the audience. I think that the most important thing about communicating with the audience is to mobilize the audience to actively create the mood when they enjoy it so that the audience can “act” together with the actors as the story changes. Under normal circumstances, actors are acting in the stage of space and time, while the audience is mainly in their own thinking time and space “acting.”