当前话剧表演艺术存在的主要问题,我以为是没有充分利用话剧艺术“假定性”的特点,不敢“演”,以致造成了种种弊病。狄德罗曾经指出,对戏剧家来说,“重要的一点是做到惊奇而不失为逼真”,而“逼真”是“谎言和真实的巧妙结合”。可见“逼真”并不是简单的生活真实。我们不可能把自然形态的生活原封不动地搬上舞台,因此,舞台艺术允许并必须具有虚拟性,也就是假定性。真实性和假定性都是戏剧的本质属性。真实性是指真实地反映生活,假定性是指一切用以表现生活真实的方式和手段。戏剧的假定性,除了对时间、空间创造的要求外,主要是演员表演的假定性。如果充分意识到这一点,那么在任何风格的景片中,甚至没有布景,演员都可以演得很逼真。比如《再见,巴黎》、《柜中缘》中虚拟的景并没有妨碍演员相信规 At present, the main problem of performing arts in drama is that I did not take full advantage of the “hypothetical” characteristics of drama and did not dare to “play” such problems as it caused me. Diderot once pointed out that for the dramatist, “the important point is to be surprised but not to be realistic”, and “realistic” is the “ingenious combination of lies and truth.” Visible “realistic” is not a simple life truth. It is impossible for us to bring the life of the natural form to the stage intact, therefore, the stage art allows and must have the virtuality, that is, the hypothetical. Both authenticity and presumption are the essential attributes of drama. Authenticity refers to the true reflection of life, and presumption refers to all the ways and means to show the real life. The presumption of drama, in addition to the requirements of time and space creation, is mainly the presumption of performers. If you are fully aware of this, then in any style of scene, the actor can perform very vividly, even without setting a scene. For example, “goodbye, Paris,” “cabinet edge” in the virtual scene did not prevent the actors believe rules