论文部分内容阅读
林兆华版《赵氏孤儿》为自己设置了一个逻辑前提,即这是一个“现实主义的‘戏剧大片’”。所以,编导绕过《赵氏孤儿》原有的冲突焦点,将叙事的锋芒指向了高高在上的封建专制王权。在这里,孤儿是否复仇已经变得毫无意义,至少是无足轻重的,编导希望能引起我们注意的,是导演了这场惨绝人寰的悲剧的幕后黑手。惟其如此,程婴的忠义中愚昧的成分才被刻意地强调出来,而屠岸贾的奸也才有了新的解释,它不再仅仅是人的道德的沦丧,还是政治斗争的残酷的血腥。
Lin Zhaohua version of “Orphan” set himself a logical premise that this is a “realist” drama blockbuster. “ Therefore, editors bypass the original focus of the ”Orphan of Zhao" and point the narrative to the supreme feudal autocratic monarchy. Here, whether orphans have become revengeless has become meaningless, or at least insignificant, what the director hopes will draw our attention is the directing behind the tragedy of this tragedy. Only in this way, the ignorant component of Cheng Ying’s loyalty is deliberately emphasized, and the reincarnation of Tuankang has a new interpretation. It is no longer merely a moral melodrama of humanity, but also a cruel bloody political struggle .