这次在苏联导演扎哈罗夫、马哈也夫执导的话剧《红茵蓝马》中,我扮演列宁,对我这样一位青年演员来说称得上是一次严峻的考验。刚接受这个角色时,我的心情相当复杂,既有激动的成份,又有不安的因素。在此之前,我在舞台上已创造过几位主要角色,如《高加索灰阑记》中的法官阿兹达克和《她们没有墓志铭》中的政委姚天明等。然而,要塑造一位人们熟知的伟人形象,心里就不那么自信了。所以我是带着忐忑、朦胧的心态,走进创造角色的大门的。《红茵蓝马》无论是剧本还是舞台二度创作,从一定程度上反映了苏联当代戏剧的舞台思考和倾向。剧中主人公列宁、更是摆脱了舞台上对列宁形象塑造的传统漠式,已完全不是我在银幕上看到过的史楚金创造的那个形象了。苏联导演要求我塑 This time in the drama “Crimson Blue Horse” directed by the Soviet Union director Zakharov and Mahayev, I played Lenin, a severe test for a young actor such as myself. When I first accepted this role, my mood was rather complicated. I was both agitated and insecure. Before that, I had already created several major characters on the stage, such as Judge Alzdahk in Caucasus and the Political Commissar Yao Tianming in “They Do Not Have an Epitaph.” However, to shape a well-known image of the great man, the heart is not so confident. So I was with a staggering, hazy mind, into the door to create characters. “Red Rhinoceros” both the script or the stage second degree creation, to some extent, reflects the Soviet contemporary theater stage thinking and tendencies. Lenin, the protagonist of the play, got rid of the traditional desertification of the image of Lenin on the stage. It is totally not the image I had created on the screen by Shi Chujin. Soviet director asked me to plastic