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空政话剧团演出的大型话剧《九·一三事件》(下集),以独特的演出形式吸引着观众。作为一出反映刚过去不久、众所周知的当代历史事件的戏,能取得这样的效果,是有原因的。《九·一三事件》的吸引力和感染力,很大程度是由于在艺术上的创新。这包括内容和形式互为依存的两个方面,贯穿于剧本创作和舞台演出的两个阶段。惊心动魄的“九一三事件”头绪繁杂、人物众多,要在有限的时间和空间内予以再现,如按传统大戏几幕几场的结构方式,是难以奏效的。编剧丁一三同志从剧本所描写的内容需要出发,立足于真实,纵笔驰骋,头脑中没有任何固定格式的约束,只要是有利于真实地反映那个时代,有利于深入刻画人物,有利于抒发感情的表现手法,都可化来为我所用。他不勉力去追求形式上的完整和人为设置的矛盾冲突,而是充分发掘生活本身固有的戏剧性,发掘人物的内心世界,力求给人以艺术美感。他写这个剧
The big drama “September 13 Incident” (episode), featuring a unique performance by the Air Run Theater Company, attracted the audience. There is a reason for such an effect to be achieved as a reflection of the recent episodes of the well-known contemporary events of history. The attraction and appeal of the “September 13 Incident” are largely due to artistic innovations. This includes two aspects of content and form of interdependence, throughout the script writing and stage performances in two stages. The thrilling “September 13 Incident” is a complex one with many characters and many people. It is hard to work out how to reproduce it in a limited space and time. Comrade Ding Yisan, commanding himself from the contents of the script, needs to set out on the basis of reality and longitudinal strokes, without any fixed format in his mind. As long as it is conducive to truly reflecting that era, it is conducive to depict characters in depth and is conducive to expressing Feelings of the performance of tactics, can be used for what I used. Instead of pursuing formally complete and contradictory man-made conflicts, he did his utmost to exploit the inherently dramatic and humanistic inner world of life, in an effort to give it artistic beauty. He wrote the play