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评论家们津津乐道地指出现在话剧摆脱了急功近利的庸俗社会学。这的确是可喜的现象。然而令人忧虑的是,话剧在摆脱了一种急功近利的庸俗社会学之后,又反映出另一种急功近利。在“现代意识热”的浪潮中,不少编导不分题材、内容如何在形式上争相出新,搞得热闹固然热闹,但某些作品在形式上的千篇一律,反而显露了一窝蜂地赶浪头的缺憾。从《WM”(我们)》中把演员作为某种象征的道具,以形体造型,以人喻物,到《魔方》中演员在无需表演的音乐中行走:从《帅克》中以群体造型象征浮动的铁桥,《凯旋在子夜》中用人的跑动喻示车辆,到《和氏璧》中以舞蹈语汇喻示产婆接生等等,这样的演出,已被某些人称之为“形体戏剧”。舞台
Critics relish that the drama is now getting rid of the vulgar sociology of quick success. This is indeed a gratifying phenomenon. What is worrying, however, is that drama, once it has got rid of the vulgar sociology of quick success, reflects yet another quick success. In the wave of “modern consciousness hotness”, quite a few editors, irrespective of subject matter and content, are competing with each other in content and entertaining. However, some works in the form of stereotyped stereotypes only show signs of rushing waves The shortcomings. From the “WM” (us) “the actor as a symbol of the props to body shape, the human figure, to the” Rubik’s Cube “in the actor performing without performing music: from” Shuaike “group style Symbol of the floating bridge, ”Triumph in the midnight“ in the running of the vehicles used to show people to ”and Bi“ in the dance language metaphor birth attendance and so on, such performances, which have been some people call ”body Theater. "Stage