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在舞台上表現史詩般的“二七”革命斗爭,是个艰巨的工作。中国青年艺术剧院演出的《紅色風暴》,成功地完成了这个艺术使命。舞台美术方面在整个演出中,作了毫不逊色的工作。編导金山同志对舞台美术提出这样的要求:“舞台美术方面,最好力求提练、概括与集中,不宜被所謂生活的真实所拘。”这个原則是剧本本身具有的概括性和極度提炼所要求的。青艺的舞台設計成功地体現了这个原則。这个戏要求有紧凑的节奏和强烈的运动感,来表现这个动荡的風暴年月,我們看到的布景装置是完滿地保証了这一演出节奏。設想如用笨重的建筑性的布景,就将使全剧的演出节奏緩慢下来,从而損害了整个演出。設計者在这兒很好地理解了
To show the epic “27” revolutionary struggle on the stage is a daunting task. The “Red Storm” performed by the China Youth Art Theater has successfully completed this artistic mission. Stage art in the entire performance, made no difference in the work. Director Jinshan commented on the stage art such a request: “stage art, the best to practice, summed up and concentrated, should not be so-called life’s true arrest.” This principle is the script itself has a general and extremely refined required. Qing Yi’s stage design successfully demonstrated this principle. The show demanded a compact rhythm and a strong sense of movement to represent the years of turbulent turmoil, and the set we saw was a complete guarantee of the rhythm of the show. Imagine using bulky architectural sets that slow down the performance of the show and hurt the entire performance. The designer understands well here