铃木忠志带给我们什么

发布时间：2018-04-09 21:42

本文选题：铃木忠志　切入点：西哈诺　出处：《上海戏剧》2014年07期

【摘要】：正铃木忠志导演的《辛德蕊拉》在毁誉参半声中完成了它的上海演出。称之为毁誉参半也许还是顾及了铃木作为大师的国际声誉,以及将那些不懂装懂的赞美都默认为真诚的感受。实际上,批评的言论要刻薄和直接得多,"难看"、"不过如此"之声不绝于耳,甚至有人直接称之为"皇帝的新衣"。然而批评仅限于行业内,骂上几声后就在人们的记忆里消散殆尽;赞美也不过是在报刊上发几篇吹捧的文章,套一些熟悉的术语,以显示作者的专业。到这个时候,戏本身的好坏已经无关紧要了——反正过上几个月就不会有人再提起有过这样一台演出,今天的是赞是骂,又有多大区别呢?算上1996年的《厄勒克特拉》和2008年的《西哈诺》,这已经是铃木作品的第三次来华演出,头两次演出的影响在今天已然淡漠,而这一传统似乎仍将继续。如果大师的剧目演出,仅仅是在剧场
[Abstract]:Masuzuki's Sinderra finished its Shanghai performance in a mixed tone.Calling it mixed may have taken into account Suzuki's international reputation as a master, as well as tacitly embellished compliments as sincere feelings.In fact, the criticism was much harsher and more direct, "ugly", "so much so" and even called "the emperor's new clothes."Criticism, however, is confined to the profession, with a few curses and then gone away in people's memory; praise is nothing more than a few flattering articles in the press, familiar terms to show the author's profession.By this time, the quality of the play itself has become irrelevant-anyway, after a few months will no one mention such a performance, today is praise or scolding, and how much difference?This is the third time Suzuki's work has been performed in China, and the impact of the first two shows has been muted today, and the tradition seems to continue.If the master's repertoire is performed only in the theater
【分类号】：J809.313

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