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上海人民艺术剧院1991年9～10期院刊上,著名舞美设计师崔可迪以《小剧场艺木、“黑匣子”、〈留守女土〉》命名著文,文中谈到了1985年他在日本,1987年在布拉格所看到的国外小剧场“黑匣子”的演出情况,回国后他又在1989年南京小剧场戏剧节观摩了兄弟团的“黑匣子”设计。今年的《留守女土》演出实现了他多年的愿望,设计了“黑匣子”。崔可迪设计的主导思想是要使“黑匣子”能适应各种变化,特别是观众和演员的关系上,要能做到可以一面观众,可以二面、三面、四面观众,可以用布景,也可以完全不用布景。于是就设置了一圈活动屏风,将场地四周隔出一圈走道,便于演员候场和局部道具的上下场。
Shanghai People’s Art Theater From 1991 to 2010, the famous theatrical designer Choi Ke Di was named after “Little Theater Art Wood,” “The Black Box,” and “Left Behind”. In 1985, he talked about his work in Japan, 1987 In Prague in the year he saw the performance of the “black box” of the foreign theater. After returning to China, he again observed the “black box” design of the brotherhood at the 1989 Nanjing Theater Festival. This year’s “left female soil” performance achieved his many years of desire, designed the “black box.” The main idea of Choi Ke Di design is to make “black box” to adapt to various changes, especially the relationship between the audience and the actors, to be able to do an audience, you can two or three sides, all sides of the audience, you can use the set can also be completely No scenery. So set up a circle of activities screen, the space around the isolated walkway, easy to perform actors and local props up and down.