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国内首部实景影像话剧《草庐·诸葛亮》获得巨大成功,该剧不仅应用了众多现代化高科技表现手段,值得一提的是该剧竟创造性地将“世界三大表演体系”毫无破绽地融合在了一起。而以“世界三大表演体系”之理论解释其“跨体系融合”是行不通的,这种行为即是自相矛盾,无疑会将戏剧变得光怪陆离、荒唐可笑。“世界三大表演体系”自提出那天起即充满争议,其分类标准并不是客观的、普遍的。本文将以《草庐·诸葛亮》“跨体系融合”的成功典范为例,证明所谓“世界三大表演体系”不足以解释所有舞台艺术现象,现代戏剧艺术创作应当跳出所谓“世界三大表演体系”的怪圈,勇于打破三种表演体系的樊篱,以满足观众日益变化的审美需求。
The first domestic live-action drama “Grass House Zhuge Liang” has achieved great success. The play not only employs many modern high-tech means of expression, but it is also worth noting that the play creatively translated “the world’s three major performing systems” without flaws To blend together. However, it is impracticable to explain that “the inter-system fusion” is based on the theory of “the world’s three major performing systems”. This kind of behavior is self-contradictory and undoubtedly turns the theater into a bizarre and absurd one. “The world’s three major performing systems ” Since the date of the proposed controversial, the taxonomy is not objective, universal. This article will take the successful example of “Grass House Zhuge Liang” and “Cross-system Integration” as an example to prove that the so-called “world’s three major performance systems ” is not enough to explain all the stage art phenomena and the modern drama art creation should jump out of the so-called “ The world’s three major performing systems ”of the circle, the courage to break the barriers of the three performance systems to meet the audience’s changing aesthetic needs.