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对于上海话剧舞台,1986年也许可以说是一个向着繁荣兴盛转折、迈进的年头。年初,有三个剧目涌上舞台,都受到了观众的欢迎。《寻找男子汉》(编剧沙叶新、导演雷国华)以敏锐的社会洞察力,在“大龄青年择偶”的表层故事后面,触及到全社会普遍关心的有关塑造“民族脊梁”的问题,几个月内逾演百场而不衰;《黑骏马》(编剧罗剑凡,导演陈明正、龙俊杰)在开掘舞台艺术语汇方面做了大胆的探索,对人生、人性进行深沉的哲学式思考,使抒情性与哲理性达到高度统一;《红房间、白房间、黑房间》(编剧马中骏、秦培春,导演胡伟民)则采用
For the stage of Shanghai drama, 1986 may be said to be a year of turning toward prosperity and prosperity. At the beginning of the year, there were three plays on the stage, all of which were welcomed by the audience. Looking for a Man (Screenwriter Sha Ye Xin, Director Lei Guohua) With keen social insight behind the surface stories of “young spouse selection”, it touches on issues of common concern to the whole society in shaping the “national backbone.” During the month, the performance of “Black Horse” (screenwriter Luo Jian Fan, director Chen Mingzheng and Long Junjie) made a bold exploration in the field of art of stage art, deeply philosophically thinking about life and human nature, Sex and philosophy to achieve a high degree of unity; “red room, white room, black room” (screenwriter Ma Jun, Qin Peichun, director Hu Weimin) is used