央华戏剧《悲惨世界》:文学性与剧场性的舞台演绎  

Les Misérables by Magnificent Culture:Theatre Presentation of Literary and Modern

作　　者：胡明华[1] 田广文[1] HU Minghua;TIAN Guangwen(College of Chinese Language and Culture,Qufu Normal University,Qufu 273165,China)

机构地区：[1]曲阜师范大学文学院,山东曲阜273165

出　　处：《内蒙古艺术学院学报》2025年第1期130-136,共7页Journal of Inner Mongolia Arts University

摘　　要：央华戏剧制作的《悲惨世界》是法国导演让·贝洛里尼与中国演员合作的话剧,它集中体现了导演的“演员叙述者”概念和现代化的剧场表现手法。舞台上的演员们主要以叙述者身份讲述小说中的情节与人物内心活动,辅助以人物角色的动作表演和情境设置;观众在剧场中主要通过聆听人物角色的叙述,感受小说的文学魅力。在剧场性的处理和呈现上,导演通过写意简约的舞台布景、丰富多样的现场音乐伴奏和现代中性的服装设计等,使小说摆脱了具体的时空限制,凸显了永恒的人性光辉。戏剧演出虽然具有较强的文学性和剧场性,但是在戏剧动作和人物对话的处理上明显不足,弱化了观众的观剧体验;而且导演过于忠实原著的改编演出,也无法满足已知原著的观众群体对于二度创作的更高要求。戏剧《悲惨世界》既体现了当前戏剧改编长篇小说所常用的舞台叙述和表演手法,也反映了其在追求文学性、剧场性的同时对戏剧性的忽略和淡化等问题。这为戏剧的小说改编提供了重要的舞台实践和理论参考。As one collaborative play between French director Jean Bellorini and Chinese actors,Les Misérablesembodies the director's concept of actor narrator and modern style of theatrical performance.Actors mainly narratethe plot and inner activities of characters in the novel as narrators,assisting in the performance of character actionsand situations;Audiences communicate with actors by listening in the theater.The modern theater style is reflectedin the simple and expressive stage scenery,rich and diverse music accompaniment,and modern neutral clothingdesign.Although performances have literary and theatrical qualities,there is still room for improvement in terms ofdramatic handling and creative interpretation.

关 键 词：《悲惨世界》 让·贝洛里尼 文学性 剧场性 

分 类 号：J805[艺术—戏剧戏曲]