摘要
一道红色的大幕徐徐拉开，不经意间露出一把座椅，接着又豁然出现另一道红色的幕布。英国国立歌剧院新版《茶花女》中出现的这些所谓简洁道具．其实不过是导演彼得·康维茨尼为了节省成本，用来代替原剧本中的设定而设计出来的布景。
OUTLINE/Red curtains peeled apart tentatively to reveal a chair,followed by another set of red curtains.And that,in essence(save for a stack of books) was it for the set and props department in Peter Konwitschny's spare,pared-down version of Verdi's La Traviata for English National Opera.Life for Violetta was a performance and as each set of curtains drew aside,we got to see the layers of her character stripped away. When the last curtains parted,there remained only the black void of certain death into which she staggered—there were no more curtains to hide behind.Unbelievably,this co-production was Konwitschny's directorial debut in London and it was always bound to be a controversial one,which generated added interest and debate.
出处
《歌剧》
2013年第3期19-21,共3页
Opera
