在留白中倾注思想——浅谈《罗刹国》的舞台美术创作观念

发布时间：2018-05-11 18:17

  本文选题：罗刹国 + 国家话剧院　； 参考：《戏剧文学》2017年02期

【摘要】：正2016年年底,作为中国国家话剧院秋冬演出季新创剧目,《罗刹国》在中国国家话剧院小剧场上演。该剧是基于编剧黄维若老师的剧作进行的二度创作,目的为了打造更具特色的“中国式形体戏剧”,因此在舞台美术设计及面具设计层面选取了传统傩戏、皮影戏、戏曲等极具中国特色的元素。本文主要通过《罗刹国》的舞台美术设计体验来论述形体戏剧的舞台美术创作观念。首先要说的是该剧最大的亮点就是将舞台美术设计统一在皮影造型概念下,包括
[Abstract]:At the end of 2016, as a new stage of the autumn and winter performances of the Chinese National Theater, Luoshanguo was staged in the small Theater of the National Theater of China. The play is based on the second creation of screenwriter Huang Wei-ruo 's play, in order to create a more distinctive "Chinese body drama," so in the stage art design and mask design level, the traditional Nuo opera, shadow play is selected. Opera and other elements with Chinese characteristics. This paper mainly discusses the stage art creation concept of body drama through the stage art design experience of Luo Shan. The first thing to say is that the greatest highlight of the play is to unify the stage art design under the concept of shadow modeling, including
【作者单位】： 三拓旗剧团;
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本文编号：1875042