看了取材于明代神话小说《封神演义》的神话艺术片《哪吒》以后,心情十分振奋。这不仅是一出从剧本到表演有着全面创新的舞台剧,同时,也是一部别具特色、质量较高的戏剧影片。关于古代神童哪吒的故事,最早源出于佛教经籍,尔后,又于历代民间广为流传。虽然它和《西游记》中的神话一样脍炙人口,但在解放后的戏曲舞台上,却很少被表现(昆曲传统剧目《乾元山》和京剧《闹海》的演出亦少)。其原因,不外是原小说所敷演的故事,既有精华,又有糟粕,欲图改编,势必要冒能否带来新意的风险。也就是说,在内容的剪裁和舞 After looking at the mythological art piece “Where 吒” based on the mythical novel “Gods and Romances” in the Ming Dynasty, I was very excited. This is not only a full play from the script to show a complete innovation of theatrical drama, but also is a distinctive, high quality drama. The story about ancient prodigy which 最 originated from the Buddhist scriptures, and later, it was widely circulated in ancient civilizations. Although it is as popular as The Myths in Journey to the West, it is rarely expressed on the stage of the liberated drama, where Kunqu Opera’s traditional play “Qigan Yuan” and Peking Opera “troubled sea” performed very little. The reason is nothing more than the stories put on by the original novels, both the essence and the dross, and the attempt to adapt them is bound to run the risk of bringing new ideas. In other words, tailoring and dancing in content