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张曼君是当今戏剧界的翘楚,更是“新世纪杰出导演”中迄今为止唯一女性。随着近几年她的作品越来越引起关注,“张曼君现象”已然成立,而“张曼君样式”也越来越引起我们的探讨。可以说,“张曼君样式”是与现代戏样式息息相关的,同时也与符合现代人心灵的现代戏曲息息相关。戏曲需要跟上时代,而采取什么手段,如何把握“正”与“变”的关系,如何理解歌舞叙事,如何处理表演与舞美的关系,是每一位当代戏曲导演需要思考的,张曼君在用自己的创造力探索。本文以张曼君作品的內容、形式为视角分析了张曼君在现代戏中的诸多创新,并提出了她在创新探索中所面临的三个可能过度的倾向。
Zhang Manjun is the leader of today’s theater industry, but also the only woman in “New Century Distinguished Director”. With her work attracting more and more attention in recent years, “Zhang Manjun phenomenon” has been established, and “Zhang Manjun style ” also more and more cause us to explore. It can be said that “Zhang Manjun style ” is closely related to the style of modern drama, but also with modern drama in line with the modern soul. How to grasp the relationship between “Zheng ” and “Change ” and how to understand the relationship between performance and dance and beauty? How to understand the relationship between performance and dance and beauty is a question that every contemporary opera director needs to think about , Zhang Manjun in their own creativity to explore. This article analyzes Zhang Manjun’s many innovations in modern drama from the perspective of the content and form of Zhang Manjun’s works, and puts forward three possible over-tendencies that she faces in her exploration of innovation.