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北京人民艺术剧院最近在小剧场实验演出的《绝对信号》,没有离奇曲折的情节和热闹红火的场面,也没有富丽堂皇的布景和花样翻新的激烈格斗,但它却牢牢地吸引住了观众。剧场的效果,与其说反映于观众的外在情绪,勿宁说回响在观众的内心深处。散了戏,人们议论着:“这和以前看的戏不一样。”是的,不一样。观众感到新颖,奇巧,别开生面,也感到有些生疏,甚至疑惑。这不奇怪。我国的话剧艺术,从二十年代起,主要是在易卜生、契诃夫、果戈理等的写实剧影响下发展起来的。与它相适应的斯坦尼斯拉夫斯基表演体系,从三十年代起就处于主宰
The “Absolute Signals” of Beijing People’s Art Theater, which were experimentally performed in a small theater recently, have no quirky scenes and lively scenes, nor are there spectacular scenes of vignettes and tricks, but they firmly hold the audience . The effect of the theater, rather than the external emotions reflected in the audience, rather than echo in the depths of the audience. Dispersed the drama, people talked about: “This is not the same as the previous drama.” Yes, not the same. The audience feel novel, Kit Kat, do not bother, but also feel a bit rusty, and even puzzled. This is not strange. Since the 1920s, the art of drama in our country has been mainly developed under the influence of the realistic drama of Ibsen, Chekhov and Gogol. Its compatible Stanislavsky performance system has been dominated since the 1930s