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在20世纪五、六十年代戏曲改革的大背景下,赵树理从《忠孝节》到《三关排宴》的改编,主要在场次的增删、丑角戏份的轻重、风格的雅化等几个方面做了较大的改动。赵树理的这种改动既考虑到当时意识形态的各种规约,又尽力在艺术上使这出戏更加精致化。但同时这种改革也带来地方戏曲的文人创作化倾向,使民间艺术自身粗线条的“泼辣味”面临消失的危险。
In the background of drama reform in the 1950s and 1960s, Zhao Shuli’s adaptation from “Zhongxiao Festival” to “Three Banquet Banquet” is mainly based on the addition and subtraction of the scenes, the severity of clown play and the elegant style of the style Made a big change. This change of Zhao Shuli not only took into consideration the various ideological conventions of the time but also endeavored to make the play more exquisite in art. However, at the same time, this reform also brought about the creative tendency of local opera writers, making the bold-line “pungent taste” of folk art in danger of disappearing.