今年国庆节,上海举行了大规模的话剧献礼演出,一共十一台戏,大小十三个剧目。这是上海话剧界富有历史意义的壮举,也是一次质量较高的演出。因为是许多剧团的许多剧目的献礼演出,就容易看出一些共同的普遍性的问题,我想对这次演出的舞台美术,谈谈个人的意见,作为学习研究的交流。十三个剧目虽没有一一都看到,但就看到的大部分演出的舞台设计来说,都有很大的提高。舞台美术家们都熟练地完成了古今中外、多种题材、多样风恪的不同处理,是艺术家们走向成熟的具体表现。特别看得出的主要收获之一是设计者们都有高度的概括能力,普遍地掌握了富有内在含意的外形特征,创造出许多美好的舞台设计。总的说来是:舞台美术家逐步地离开自然主义了,开始大胆地舍弃那些不必要的建筑形象和道具,用简练集中而富有表现力的形象,明 This year’s National Day, Shanghai held a large-scale drama gift performance, a total of eleven plays, the size of thirteen repertoire. This is a historic feat of Shanghai’s drama industry and a high-quality performance. Because it is a show of many theatrical performances of many theatrical troupes, it is easy to see some common and universal problems. I would like to talk about personal opinions on the stage art of this performance as an exchange of learning and research. Thirteen repertoires, though not all of them, have been seen, but there has been a dramatic increase in the stage design for most of the shows. Stage artists are skilled at the completion of the ancient and modern Chinese and foreign, a variety of topics, diverse styles of different treatment Ke, artists are the concrete performance of maturity. In particular, one of the main gains can be seen is that designers have a high degree of general ability to grasp the general meaning of the rich shape features to create a lot of beautiful stage design. In general, the stage artists gradually left naturalist and started to dare to abandon those unnecessary architectural images and props, with concise and expressive images