一出戏排练、演出的整个创造过程中,场记工作是一个容易被人遗忘的角落,很少被人理解和得到应有的重视。中国青年艺术剧院的郑平就是在这样的角落里,默默无闻地工作近三十年,并做出了成绩。场记其实不只是在排练场上做现场笔录,毫不夸张地说,它是导演与剧作家、演员、舞台美术家,乃至与广大观众之间的一座无形的桥梁,是导演工作中不可缺少的助手。做场记工作得任劳任怨,耳灵、眼快、手勤,还要具有较高的艺术素质和修养,才能由表及里地抓取并淀积下有价值的艺术养分,它在舞台的二度创作中拥有自己创造性劳动的价值。郑平开始干场记时,有幸遇到了几位艺术大家。她与老戏剧家田汉有过多次愉快的合作,尤其是修改《文成公主》时,田老与金山导演之间,全由她来沟通。当时修改排练时间很紧,郑平被金山派去帮助田 In a play rehearsal, the performance of the entire process of making records work is a forgotten corner, rarely understood and get the attention it deserves. Zheng Ping of the China Youth Art Theater is in such a corner, working for nearly thirty years in an obscure manner, and made achievements. It is not an exaggeration to say that it is an invisible bridge between the director and the playwright, performer, stage artist, and even the general audience. It is an indispensable part of the director’s work. assistant. Doing field work hard working ear, ear, eye fast, hand work, but also have a high artistic quality and accomplishment, in order to capture and deposit valuable artistic nutrients under the table, it is second stage Creation has the value of its own creative work. When Zheng Ping began to make notes on the field, he was fortunate enough to meet with several artists. She had many pleasant collaborations with the old theatrical artist Tian Han, especially when she revised “Princess Wen Cheng”, all communicating with her between director and Jinshan. Revised editing time was tight, Zheng Ping was Jinshan sent to help Tian