记者:《屈原》的舞美设计没有华丽的大制作,更为回归京剧艺术的本体,请您具体谈谈创作时的想法。刘杏林:从传统上来讲,京剧本身并不要求舞台像歌剧那么宏大和复杂,要表达的许多东西,包括环境地点,往往都已经体现在演员身上。所以,按照戏曲的规律,舞台背景应该空灵一些,给表演和唱词涉及的形 Reporter: Qu Yuan’s “Qu Yuan” design is not magnificent and grand, but also returns to the noumenon of Peking opera art. Please talk about the idea of ​​creation at the time. Liu Xinglin: Traditionally, Peking Opera itself does not require the stage to be as grand and complex as operas, and many of the things to be expressed, including the location of the environment, are often already reflected in the performers. Therefore, according to the rules of opera, the stage background should be more ethereal, to the performance and the lyrics involved in the form