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在中国,音乐剧的发展从新时期的引进算起,也走过了近三十年的历程,虽然取得过一些成绩,但至今没出现能被公众认可的作品,我们对音乐剧的认识还存在许多盲点和误区。音乐剧发展的瓶颈在哪里,是创作还是市场?中国的音乐剧应该如何走?音乐剧仅仅是歌舞乐+表演吗?在音乐剧的本土化发展进程中我们需要怎样的眼光与思路?带着这些问题,记者采访了知名舞蹈学者吕艺生。他曾是北京舞蹈学院的院长,还是我国音乐剧方面的积极探索者和推动者之一,他不仅研究音乐剧文化,还主持开创了北舞院的音乐剧教育,并且亲自操刀写剧本做导演。以下是他对音乐剧在中国发展的种种看法。
In China, since the introduction of the new era, the development of musicals has also gone through almost 30 years of history. Although some achievements have been made, so far no works can be recognized by the public. Our understanding of musicals still exists Many blind spots and misunderstandings. What is the bottleneck in the development of musicals? Is it the creation or the market? How should Chinese musicals go? Is the musical merely a song and dance + a performance? What kind of vision and train of thought do we need in the process of the localization of musicals? These questions, the reporter interviewed the famous dance scholar Lv Yisheng. He was the dean of the Beijing Dance Academy and one of the active explorers and promoters of musicals in China. He not only studied the musical culture, but also pioneered the musical education of the North Dance Theater and personally wrote the script Be the director. The following is his views on the development of musicals in China.