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七、一专多能,以武功塑台型六十年代初,在粤剧《智取威虎山》中,我见过陈少棠饰演的小炉匠栾平,以武丑应功,他的灵活多变的表情,跳跃腾飞的身段,迟疑慌乱的口白,简直把这个狡猾卑鄙的亡命之徒演活了,难怪当时的观众,就给他一个“生栾平”的雅号。后在六十年代末期,又见到陈少棠在粤剧《杜鹃山》中饰演主角雷刚,是个无产阶级革命英雄,但见他抡大刀、唱霸腔,慷慨激昂,饶有大将风度。南派武功运用到这个角色身上,充分表现了阳刚之气。在这个戏里,我们又欣赏到陈少棠“龙头武生”的功底。从《十奏严嵩》的海瑞,到《智取威虎
Seven, a multi-functional, with martial arts plastic type In the early sixties, in the Cantonese opera “wisdom to take Tiger Mountain”, I have seen Chen Shaotang play as a stoveman Luanping, Wu Wu Ying Gong, his flexibility and more Change the expression, soaring jump posture, hesitated confused mouth, simply the cunning despicable descendants played, it is no wonder then the audience, give him a “life Luan Ping” nickname. Later in the late 1960s, Chen Shaotang saw Lei Gang, the protagonist in the Cantonese opera “Rhododendron Mountain,” a proletarian revolutionary hero. However, seeing him as a big sword, singing a majestic hegemony and imposing a great generality. South sent martial arts to the role of body, fully demonstrated the masculinity. In this scene, we also appreciate the foundation of Chen Shaotang’s leading Takefu. From the “ten play Yan Song” Hai Rui, to "take the tiger wisdom