CAJ | 학술논문

《梅兰霓裳》与《魔笛》两剧的演出，前者追求华丽与新奇，有西方歌剧的影子；后者寻求极简与古朴，有中国戏曲的影子。本文从观众角度，通过导演处理、演出与观众等方面的对比，来研究布鲁克的戏剧观，分析当今中西戏剧的一些走向，探讨中国戏曲的发展前景。把巨资耗费于舞台、布景、服装和道具，对华丽形式的外在追求，代表着目前中国演剧艺术的潮流。布鲁克极简的导演处理，则代表着西方戏剧实验的最新动向。背道而驰的两种风格，哪种更宜于舞台演出？事实证明外在华丽不适合传统戏曲的表演，更不能成为中国戏剧发展的主流。而布鲁克的极简处理。却处处闪烁着戏曲的原始风貌。返朴归真才是中国戏剧家应努力的方向。
《매란예상》여《마적》량극적연출，전자추구화려여신기，유서방가극적영자；후자심구겁간여고박，유중국희곡적영자。본문종관음각도，통과도연처리、연출여관음등방면적대비，래연구포로극적희극관，분석당금중서희극적일사주향，탐토중국희곡적발전전경。파거자모비우무태、포경、복장화도구，대화려형식적외재추구，대표착목전중국연극예술적조류。포로극겁간적도연처리，칙대표착서방희극실험적최신동향。배도이치적량충풍격，나충경의우무태연출？사실증명외재화려불괄합전통희곡적표연，경불능성위중국희극발전적주류。이포로극적겁간처리。각처처섬삭착희곡적원시풍모。반박귀진재시중국희극가응노력적방향。
Meilan Colorful Raiment and The Magic Flute form a contrast： one follows the pattern of western opera and presents magnificent and enchanting spectacles; the other reflects the convention of Chinese Xiqu and aims to create the simple and antique atmosphere. From the perspective of the audience, this paper analyzes Brook＇ s dramatic theories through comparison of the two plays in directing, performance and audience to discuss the future development of Chinese and western drama and the prospects of Chinese Xiqu. The huge expenditures on stage, setting, costume and props, as well as the pursuit of external magnificence are demonstrations of the current trends of Chinese theatre. Brook＇s directing with extremely simple style represents new trends in western experimental theatre. Which of these two completely different styles better suits the stage？ It has been testified by the theatrical practice that the external magnificence does not work well with the performance of Chinese Xiqu and is not to become the mainstream in the development of Chinese drama. Brook＇s minimal directing, on the other hand, shines with the original charm of Chinese Xiqu; returning to the simple and the original is the prospect that Chinese dramatists should have.