本文選題：張軍　切入點：演繹方式　出處：《藝術(shù)評論》2017年06期

【摘要】：正當(dāng)代昆曲《我,哈姆雷特》,從2016年10月在中華藝術(shù)宮首演,到2017年4月在上海大戲院再次亮相,吸引觀眾的,一是"昆曲王子"張軍的號召力;二是因為這部作品獨特的演繹方式。冠以"當(dāng)代"二字,那就必須要有"當(dāng)代"的元素和氣質(zhì),這部被很多媒體稱作昆曲"獨角戲"的作品,由張軍—人分飾幾個角色:哈姆雷特、掘墓人、奧菲利亞、亡靈(哈姆雷特之父)、國王(篡位后的叔父)、王后、伶王、伶后、伶王之
[Abstract]:The contemporary Kunqu Opera, Hamlet, premiered at the Chinese Art Palace in October 2016, and appeared again at the Shanghai Grand Theater in April 2017. The first is the appeal of Zhang Jun, Prince of Kunqu Opera; Second, because of the unique way in which this work is interpreted. With the word "contemporary", it is necessary to have the element and temperament of "contemporary", a work called "monologue" by many media. Played by Zhang Jun: Hamlet, grave digger, Ophelia, the undead (the father of Hamlet, the king, the queen, the king, the queen, the actor, the king, the king).
【作者單位】： 上海歌劇院藝術(shù)創(chuàng)作室;
【分類號】：J82
，

本文編號：1686122