《樱桃园》开篇，大卫·多伊阿什维利便充分展现了自己对舞台表现的高度驾驭能力。他没有选择复刻 百年前世纪之交的俄罗斯贵族庄园，而是搭起一片刻意模糊了时空和真假界限的空间，先让穿着杜邦纸 服装的演员把它一点点填满，再由时光将其淹没。 近日，北京人民艺术剧院新排作品《樱桃园》跨年上演，为重释经典做出了一次相当大胆的探索。 创作于俄罗斯文学巨匠契诃夫人生终章阶段的《樱桃园》，曾被北京人艺创始人之一、总导演焦菊隐誉 为"契诃夫的'天鹅歌'，是他最后的一首抒情诗"。此次新排《樱桃园》采用焦菊隐译本，导演大卫·多伊 阿什维利和多位主创艺术家则来自格鲁吉亚。 转自：贵州日报 《樱桃园》剧照。方非 摄 当剧中庄园农奴的后裔、商人罗巴辛向那些落魄又天真的贵族提出，要砍倒樱桃林盖起别墅时，一片哄 笑声响起，载满回忆的行李箱被推倒、踢翻，顺着斜坡滚落下来，一连串樱桃也被踩碎，汁水流淌若鲜 血蜿蜒。"《樱桃园》始终是一个关于变迁、转折的隐喻。"大卫·多伊阿什维利说，在当下这个变化纷 纭的世界，《樱桃园》的主题仍有现实意义。 在无法逆转的时代洪流面前，舞台上11个主要角色的反应耐人寻味。樱桃园被拍卖，大家各自迎来"新 生活"，有人黯然远 ...

大量即时影像的运用也是这一版《樱桃园》渲染情绪的突出手法。抖动的、仿佛带着体温的运镜与演员的表情特写呼应，在心灵空间与现实环境中交替游 走，进一步拓展了全剧的表演空间。 本报记者 高倩 近日，北京人民艺术剧院新排作品《樱桃园》跨年上演，为重释经典做出了一次相当大胆的探索。 创作于俄罗斯文学巨匠契诃夫人生终章阶段的《樱桃园》，曾被北京人艺创始人之一、总导演焦菊隐誉为"契诃夫的'天鹅歌'，是他最后的一首抒情诗"。此 次新排《樱桃园》，左手致敬，右手探索——它采用焦菊隐译本，导演大卫·多伊阿什维利和多位主创艺术家则来自格鲁吉亚。 现场 "木头盒子"装满隐喻 舞台被四面"包裹"，木色材料拼出一个紧凑的、放射状的"盒子"。这处近乎空白的"土地"，因回忆的注入鲜明起来——旅居法国的柳鲍芙耗尽资财，当她回 到祖传的樱桃园时，一切早已世殊事异。债台高筑的阴云下，各怀心事的人们在樱桃园里追忆往昔，他们用手中的粉笔画出古旧的柜子、明媚的窗景、盛开 的花朵，再以光影的"魔法"赋予它们翩然舞动的生命。 《樱桃园》开篇，导演大卫·多伊阿什维利便充分展现了自己对舞台表现的高度驾驭能力。他没有选择复刻百年前世纪之交的俄罗斯贵族庄园，而是搭 ...

Core Viewpoint - The 2025 Beijing People's Art Theatre International Drama Invitation Exhibition aims to bridge cultural exchanges through diverse performances from various countries, showcasing the universal language of drama and its emotional resonance across cultures [2][4]. Group 1: Event Overview - The exhibition will take place from October 11 to November 26, 2025, featuring 14 performances from 9 countries, totaling 42 shows [2]. - Notable productions include Italy's "One Servant, Two Masters," France's "The Screens," and Germany's "The Threepenny Opera," highlighting the event's international scope [2]. Group 2: Cultural Exchange and Collaboration - The exhibition serves as a platform for cultural exchange, celebrating the 50th anniversary of diplomatic relations between China and the EU, with participation from major European theatre companies [4][5]. - Beijing People's Art Theatre has established a cooperative mechanism for theatre exchanges, promoting mutual visits and equal exchanges with various international theatres [5]. Group 3: Innovation in Theatre - The opening performance will be a new adaptation of "Hamlet," showcasing the confidence of Chinese theatre artists and their innovative interpretations of classic works [6]. - The exhibition emphasizes innovation as a core principle, with directors like David Doiaashvili bringing fresh perspectives to classic plays, enhancing audience engagement [6][7]. Group 4: Audience Development - The theatre prioritizes nurturing audiences, especially students, by offering affordable ticket prices for educational performances, benefiting over 500,000 students [10]. - The exhibition includes lectures to deepen audience understanding of international productions, encouraging active engagement with the art form [11]. Group 5: Future Directions - The exhibition aims to enhance international collaboration and provide diverse content, aspiring to become a model for cultural exchange and elevate the influence of Chinese civilization [12].

Core Viewpoint - The seventh Tang Xianzu International Drama Exchange Month in Fuzhou, Jiangxi, showcased a cross-cultural dialogue through the performance of "Tang Sha Meeting," blending elements from "The Peony Pavilion" and "Romeo and Juliet" to highlight the unique charm of drama as a shared human expression [4][5]. Group 1: Cultural Exchange and Artistic Collaboration - The opening performance utilized a water stage to create an immersive artistic experience, reflecting the vitality of cultural innovation in the new era [4]. - The collaboration between Chinese and British directors emphasizes the shared themes of love and societal constraints present in both "The Peony Pavilion" and "Romeo and Juliet," showcasing the emotional depth and philosophical inquiries of both works [5][6]. - The creative team aimed to present key moments of "love at first sight" and "parting in death," illustrating the parallel narratives of love and loss across cultures [5][6]. Group 2: Artistic Development and Future Prospects - The collaboration marks a significant evolution from previous works, transitioning from a single narrative to a dual narrative structure, enhancing the storytelling and expression [7]. - The performance of "The Peony Pavilion" alongside other regional operas like Cantonese and Gan opera demonstrates the enduring vitality of traditional Chinese theater and its ability to resonate across different art forms [8]. - Future plans include expanding the reach of "Tang Sha Meeting" to international stages, promoting cultural dialogue through art, and continuing to share Chinese stories globally [7][9].