本文選題：鈴木忠志　切入點：西哈諾　出處：《上海戲劇》2014年07期

【摘要】：正鈴木忠志導(dǎo)演的《辛德蕊拉》在毀譽參半聲中完成了它的上海演出。稱之為毀譽參半也許還是顧及了鈴木作為大師的國際聲譽,以及將那些不懂裝懂的贊美都默認(rèn)為真誠的感受。實際上,批評的言論要刻薄和直接得多,"難看"、"不過如此"之聲不絕于耳,甚至有人直接稱之為"皇帝的新衣"。然而批評僅限于行業(yè)內(nèi),罵上幾聲后就在人們的記憶里消散殆盡;贊美也不過是在報刊上發(fā)幾篇吹捧的文章,套一些熟悉的術(shù)語,以顯示作者的專業(yè)。到這個時候,戲本身的好壞已經(jīng)無關(guān)緊要了——反正過上幾個月就不會有人再提起有過這樣一臺演出,今天的是贊是罵,又有多大區(qū)別呢?算上1996年的《厄勒克特拉》和2008年的《西哈諾》,這已經(jīng)是鈴木作品的第三次來華演出,頭兩次演出的影響在今天已然淡漠,而這一傳統(tǒng)似乎仍將繼續(xù)。如果大師的劇目演出,僅僅是在劇場
[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
【分類號】：J809.313

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1 王曉璐;“足的文法”—鈴木方法研究[D];上海戲劇學(xué)院;2011年

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