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几年前,一台黄梅戏《徽州女人》横扫大江南北,以其唯美的风格、革新的语汇震撼了整个戏剧界。人们再一次被戏曲的美所征服,再一次为古老戏曲所蕴涵的巨大生机与活力所鼓舞。在淮剧《金龙与蜉蝣》、京剧《曹操与杨修》、越剧《孔乙已》和广东汉剧《蝴蝶梦》之后,戏曲人似乎又看到了戏曲改革、尤其是现代戏创新的又一条生路:戏曲原来是可以那样、也可以这样做的! 几年过去,人们的眼睛再次被舞台点亮——在刚刚举行的2002年上海国际艺术节上,浙江宁波甬剧团演出的甬剧《典妻》,以崭新的舞台风貌,不仅博得了观众热烈的掌声,而且引起了专家的强烈关注。
A few years ago, a Huangmei opera “Huizhou woman” swept north and south, with its aesthetic style, innovative vocabulary shocked the entire theater. Once again, people are conquered by the beauty of the opera, once again inspired by the immense vigor and vitality implied by ancient operas. After the Huai drama Golden Dragons and the Swaddling, Beijing opera Cao Cao and Yang Xiu, Shaoxing opera Kong Yu and Cantonese Han drama Butterfly Dream, the opera people seem to have seen the reform of opera, especially the creation of modern opera. In the past few years, people’s eyes were once again lit by the stage - at the Shanghai International Arts Festival just held in 2002, the Ningbo opera “Code Wife”, which was performed by Zhejiang Ningbo Yong Theater Company, With a new stage style, not only won warm applause from the audience, but also attracted the strong concern of experts.