论文部分内容阅读
推开小品表演的大门,一个独特的领域犹如一片浩瀚无垠的星空展现在我的眼前。赵丽蓉在《英雄母亲的一天》中塑造的平凡而又伟大的母亲,在《打工奇遇》中塑造的勤劳善良富于正义感的饭馆服务员;宋丹丹在《超生游击队》中塑造的在外打工的农村妇女,在《昨天·今天·明天》中塑造的东北大妈白云等等,这一个个鲜活真实的角色,以顽强的生命力在时间的长河中定格,散发着夺目的光芒。为什么有的表演能够根植在人们心中,而有的表演却只是转瞬即逝呢?18世纪的哲学家和戏剧理论家狄德罗在《演员的是非谈》中曾经说过:
Open the door of the sketch show, a unique area like a vast expanse of the stars show in front of me. Zhao Lirong in the “mother of the day” in the shape of the ordinary and great mother, in the “work-adventure” shaped by hard-working kindness rich in justice restaurant waiter; Song Dandan in the “super-life guerrillas” in shaping the working rural areas Women, white cloud of Northeast ape created in “Yesterday, Today and Tomorrow,” etc. These lively and real characters, with tenacious vitality in the long river of time, exudes an eye-catching light. Why do some performances can be rooted in the hearts of people, and some performances are just fleeting it? 18th century philosopher and theatrical theorist Diderot said in the actor’s non-talk: