作为一个导演来说,有自己对生活的认识,对剧本的理解,有自己在艺术上的想法和追求。这些,都必然会形成对同一剧目,有不同的艺术处理,形成不同的艺术风格。因此,我谈问题,我导演的戏,也只能说明是我的认识,我的理解。也许有不少错误之处。为了把问题说得具体一点,集中一些,我想只谈《红梅赠君家》这个戏,在导演上的一些想法。尽管当前对“剧本、剧本、一剧之本”的看法,意见纷纭,但我还是认为:剧本应是导演“二度创作”的基础。因此,有必要先说说我读剧本后的一些感受。红梅,迷恋着你在阅读沙梅同志的《红梅赠君家》剧本时,首先吸引我的是“红梅”在戏中的运用。它引起了我很多对生活的思索,也激发出我对川剧舞台艺术如何继承和出新的一些零星的思考。我首先着眼的是如何把红梅贯串在全剧的情节结构和矛盾冲突中,加深剧本的诗情画 As a director, have their own understanding of life, understanding of the script, have their own artistic ideas and pursuits. All of these are bound to form different artistic styles for the same repertoire. Therefore, I talk about the issue. The show I direct can only show that I understand my understanding. There may be many mistakes. In order to put the issue a little more specific and focused, I would like to discuss only some of the directors’ ideas about the movie “Hongmei Bon Junjun”. Despite the current opinions and opinions on “script, script and drama”, I still think that the script should be the basis of the director’s “second creation”. Therefore, it is necessary to talk about some of my feelings after reading the script. Hongmei is obsessed with the application of “Hongmei” in the play when I read the script of “Hongmei Bongengjun” which I read about Comrade Shame. It caused me to think a lot about life, but also inspired my Sichuan opera stage art how to inherit and rejuvenate some sporadic thinking. My first concern is how to run through the Plum in the plot plot structure and conflicts, and deepen the script poetic