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戏曲的发展离不开创新,梅兰芳先生曾提出过“移步不换形”的观点,这就要求戏曲的今后发展还要在继承的基础上发展,在创作的过程中进步。戏曲舞台形象的呈现,脱离不了导演的精妙构思,外加演员不似之似的表演程式和非美之美的形象塑造。当然一个艺术精品的评价是建构于内容与形式的完美统一之上的。为此,以青春版《牡丹亭》的成功作启示,以精品工程的响彻中外作例子来研究戏曲导演创作的基本方向,希望能为今后戏曲的发展提供良好的理论基础。
The development of traditional opera is inseparable from innovation, and Mr. Mei Lanfang once put forward the viewpoint of “changing the course without changing its form”. This requires that the future development of Chinese opera should develop on the basis of inheritance and progress in the process of creation. The performance of the stage image of the opera can not be separated from the exquisite idea of the director and the image of the acting program that is not similar to the actor and the image of non-beauty. Of course, the evaluation of an art work is based on the perfect unity of content and form. Therefore, taking the success of the youth edition “The Peony Pavilion” as a revelation, the essay explores the basic direction of the director’s creation with the excellent project resounded both at home and abroad, hoping to provide a good theoretical basis for the development of the opera in the future.