影像化舞台上的自传.DOC

人生如戏 戏如人生 ——评田沁鑫话剧《狂飙》 Life Is Like Play and Play Is Like Life ---- On Tian Qinxins Drama Hurricane 话剧《狂飙》向观众展现了国歌作者、剧作家田汉的一生，其与众不同之处在于：作为人物传记，它以表现主义的手法着眼于田汉的内心世界，而非外在功绩；作为舞台剧，它又向影视艺术靠拢，以别出心裁的舞台调度实现了有限的空间里更多的创造性。 Drama Hurricane shows to the audience the whole life of Tian Han, the author of the national anthem and a great playwright. Its unique features lie in this fact：As biography，it uses the expressionist technique to depict Tian Hans inner world，rather than its apparent deeds；As the living theatre，it approaches movie and TV art, using unique mise en scene to realize more creativity in a limited space. 《狂飙》在剧作上有着独到的切入点。编剧田沁鑫并不依托于某个重要事件来展开田汉的客观生平，而是用他现实生活中几个重要女人（母亲、日本女演员和四任妻子）与几部重要作品（《乡愁》、《莎乐美（中译）》、《一致》、《关汉卿》）的戏中戏相互穿插，展现了田汉丰富的内心世界。 In art creation, Hurricane has its original cut-in points. Scriptwriter Tian Qinxin does not rely on important events to unfold Tian Hans life, but uses several important females in his real life (his mother, the Japanese actress and his four wives) and the episodes of some major works of his ( Nostalgia, Salome” (Chinese translation), Accord, and Guan Hanqing) to display Tian Hans rich inner world. 如此编剧有其内在的合理性。田汉是一位浪漫多情的诗人，他毕生追求能够在思想上达到沟通和启发的伴侣，因此他与每位女性的情感交往，都反映了他那一时期情感与思想的碰撞。反之，这几位女性也影响了田汉在特定时期的社会认知，并反映在其特定时期的文字、作品中，甚至成为其人物原型。因而，《狂飙》中扮演其生母、妻子等女性角色的演员，在相应时期的戏中戏里扮演相应的角色，利用演员的相同来凸显真实人物与剧中人物相互参照、映射的关系。 Such an arrangement has its intrinsic reasonableness. As a romantic and amorous poet，for all his lifetime, Tian Han tried to find a companion who could reach mutual communication and enlightenment with him, hence, his emotional intercourse with each female reflected his collision between emotion and thought in that stage of his life. On the other hand，these females also influenced Tian Hans social cognition in the specific period, and they were reflected in his writings and works in that specific period, and even became the prototypes of the figures in his works. Thus，the actress playing the parts of his mother and wives plays her corresp