论河南方言话剧《宣和画院》的艺术魅力
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摘要
方言话剧《宣和画院》以开封汴京文化为背景,以河南人特有的文化自信,使用地域性强、具有朴实敦厚的开封方言作为舞台语言来讲述社会变迁中古城开封的历史底蕴和文化品格,以及当下开封人的精神困惑和文化坚守。编导李利宏以方言为载体,以话剧为依托来表现不同人物的性格、身份地位和价值取向,从而使观众产生强烈的情感共鸣。该剧中的方言所体现的区域文化价值,在当代话剧艺术市场多元文化的发展中具有重要的社会意义。
The dialectal drama Xuanhe Painting Academy,taking the Bianjing culture in Kaifeng and the unique cultural self-confidence of Henan peoples as the background, cited the strong region, honest and sincere Kaifeng dialect as the stage language to elaborate the historical ground and cultural character of the ancient city Kaifeng in the social changes, as well as the spiritual confusion and cultural adherence of the present Kaifeng people. Li Lihong, the playwright and director, used dialect and drama as a carrier to express the disposition, status and value orientation of different characters, thus making the audience have a strong emotional resonance and making Xuanhe Painting Academy become "Teahouse of Henan version". The regional cultural value embodied by the dialect in the play is of great social significance in the development of multiculturalism in the art market of contemporary drama.
The dialectal drama Xuanhe Painting Academy,taking the Bianjing culture in Kaifeng and the unique cultural self-confidence of Henan peoples as the background, cited the strong region, honest and sincere Kaifeng dialect as the stage language to elaborate the historical ground and cultural character of the ancient city Kaifeng in the social changes, as well as the spiritual confusion and cultural adherence of the present Kaifeng people. Li Lihong, the playwright and director, used dialect and drama as a carrier to express the disposition, status and value orientation of different characters, thus making the audience have a strong emotional resonance and making Xuanhe Painting Academy become "Teahouse of Henan version". The regional cultural value embodied by the dialect in the play is of great social significance in the development of multiculturalism in the art market of contemporary drama.
引文
[1] 李红艳.八年蒸的那个馍:评李利宏和他的方言话剧《宣和画院》[J].戏剧文学,2010 (3):48-51.
[2] 安茹静.浅析文学语言的“地方性”[J].华章,2012(3):65.
[3] 李利宏.宣和画院[J].剧本,2009(1):26-36.
[4] 木生.提倡小戏和方言话剧[J].上海戏剧,1981(3):8-9.
[5] 洪可人.生机勃勃的方言话剧[J].戏剧报,1987(2):36.
[6] 艾莉.方言话剧不是小品的堆砌[N].光明日报,2015-05-25(15).
[7] 李利宏.八年蒸个馍:我写方言话剧《宣和画院》[J].剧本,2009(1):37-38.
[8] 张凡,董新颖.方言话剧的当代意义与维度:以方言话剧《天心顺》《梁生宝买种记》为例[J].当代话剧,2016(4):24-26.
[2] 安茹静.浅析文学语言的“地方性”[J].华章,2012(3):65.
[3] 李利宏.宣和画院[J].剧本,2009(1):26-36.
[4] 木生.提倡小戏和方言话剧[J].上海戏剧,1981(3):8-9.
[5] 洪可人.生机勃勃的方言话剧[J].戏剧报,1987(2):36.
[6] 艾莉.方言话剧不是小品的堆砌[N].光明日报,2015-05-25(15).
[7] 李利宏.八年蒸个馍:我写方言话剧《宣和画院》[J].剧本,2009(1):37-38.
[8] 张凡,董新颖.方言话剧的当代意义与维度:以方言话剧《天心顺》《梁生宝买种记》为例[J].当代话剧,2016(4):24-26.