Using lights and projections to replace paint is the future. " This prediction made by the famous Czech stage designer Jo Svoboda in the early 1950s has been fully realized in the comprehensive stage invention. From a perspective, the charm of science and technology, more and more show the vitality of their own invention, more and more become an indispensable partner of art invention!
Of course, there are also questions about rational participation and investment in the use of stage equipment. Stage equipment is all inclusive, including sound, light, color, shape, machinery, materials, utensils, control equipment, etc. In the invention of stage art, whether the participation is moderate, whether the use is in place, whether the stage effect is achieved or not, whether they are "transformed" into art elements, has a rational index. There are also various aspects of hardware and software, such as the equipment and settings of performance theater and stage, which are relatively fixed hardware; for example, lighting, sound, clothing, props, etc., are dynamic investment in science and technology. There are rational inventions in different performing environments, conditions, plays and artistic effects of different performances, so that stage technology can really serve performance, add color to art, and even open a brand-new art window for art invention and build a broader art space.
Since the beginning of this century, theater construction has been in full swing and developed rapidly. On the macro level, this is a gratifying thing. Stage construction is hardware. It is not only an old topic but also a new challenge to effectively connect with stage creation and cultural market. However, in order to show political achievements or the so-called "landmark" buildings, it is too luxurious and greedy for foreign affairs. Especially on the stage, excessive pursuit of perfection, one thousand people, foreign equipment, over standard setting, non artistic function in the first place. Whether the stage function is for meetings and activities, or for the audience and cultural market? Whether the market effect can be formed? Whether the allocation of cultural resources is reasonable? And so on, it is worth thinking.
There are also many topics to be concerned about in stage construction. The conclusion is as follows: first, the external appearance and style of theater need to be diversified, so we should consider the environmental factors and the prospect of urbanization. The theater should have a threshold and can also be graded. It should not only consider the needs of social activities, but also pay attention to the needs of the audience. 2、 The rational allocation of stage equipment should consider its economic effect, social function and artistic consideration. 3、 If conditions permit, more specialized theatres will be created. There is a difference between entertainment and artistic theater. The attempt to build a theater street with large, medium and small theaters. It is necessary to think about the marketization in the future and build a bridge of complementary performance environment and survival. The theater was built in a sparsely populated marginal area according to the planned economy era. It was difficult to survive and was not very reasonable. 4、 Theater construction should be inclined to medium-sized and small-sized theaters, with complete and complete basic facilities and functions. We should maintain the traditional stage and the ancient stage in the countryside.
The potential of stage equipment has not been fully, effectively and in place, and the hardware and software do not match. In addition to the large-scale production of dance beauty, it also lacks its own creative expression language, high aesthetic level and ability to resist the interference of non artistic elements. In a forum, I once said three "70% phenomena" about the creation of contemporary stage lights: first, 70% of the stage lighting did not enter the artistic creation level; second, 70% of the lighting equipment and appliances were used in the lighting function; third, 70% of the stage resources were not really used in the artistic creation. This is worth thinking about.
Stage equipment is for the creation of stage art, can not put the cart before the horse. The use of any scientific and technological means, when used on the blade, should be "point" to stop. The language embodied in the use of science and technology must become the embodiment language of performance. The abuse and widespread use of stage science and technology, the proliferation of large-scale manufacturing, the morbid and rich state, luxury and affectation, etc., have interfered with the invention of the whole art. We should abandon the lazy mode of "not enough drama, scenery to gather together" and "not enough scenery, fog to gather", such as fog, rain, snow, mobile channels or turntables in the use of means, for use, lack of their own artistic language. This kind of non artistic use, on the contrary, brings invisible harm to art itself. Therefore, the investment in stage science and technology, including the creation of various opera venues, needs to be practical and realistic to think about and use. In order to make the best use of things, we should tailor our clothes according to local conditions. That is to say, from the perspective of stage art, we should look at the participation and use of stage science and technology from a rational standpoint, so that the creation of stage art and stage as a whole will be improved day by day!