艺术貴在創新。焦菊隐先生导演的戏常使我們感受到一种刻意求新的精神;焦先生敢于設想,敢于創造,这很值得我們学习。看过北京人艺的《蔡文姬》的人,都会被他用景的落笔大块的气魄所吸引;一排旌旗。一个穹卢,点出了茫茫塞外的神致,表現了連营悲笳,慷慨豪壮的情調;簡练、遒劲,别具一格。而在《武則天》中我們看到了另一种手法——取一个角度,落笔于一点。精雕細刻,写尽宫庭之精美深邃,与《蔡文姬》的風格完全不同。无論雕栏玉砌,亭閣迴廊。力求其真,力求其美,一眼望去。大有“庭院深深深几許”之意。而室內道具如桌 Art is innovation. Director Jiao Juyin often directs us to feel a spirit of seeking new ideas; Mr. Jiao dare to conceive, dare to create, it is worth learning. People who have watched “Cai Wenji” of Beijing art and craft will be attracted by his boldness of using the scenery; a row of flags. A Qionglu, point out the vast expanse of God caused by the performance of the business camp, generous and generous atmosphere; concise, energetic, unique. And in “Empress Wu” we see another way - from a point of view, at a stroke. Carved and elaborate, courtesy of the exquisite deep, and “Cai Wenji” style is completely different. Regardless of carving jade puzzle, pavilion cloister. Strive for its truth, strive for its beauty, a glance. Great “deep courtyard a few deep” meaning. And indoor props such as tables