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元末明初文人高明的《琵琶记》自诞生之日起,就备受青睐,从文本到舞台倾注了历代文人及艺人的心血。特别是折子戏形成以来,对《琵琶记》的舞台演出选出最多,演出最繁盛,因此《琵琶记》被称为“南戏之祖”。然而在当今的舞台上,并非是对乾嘉以来昆曲《琵琶记》的依葫芦画瓢似的照搬照抄,而是后代文人、艺人自觉而有原则的创作。本文拟通过对《书馆》一折在《六十种曲》《审音鉴古录》《缀白裘》《昆弋身段谱》与当代舞台上上海昆剧团和永嘉昆剧团的演出实际进行比较,阐述当代昆曲表演对乾嘉传统的继承与创新。
The late Ming and early Ming Dynasty literati clever “Pipa” since the birth of the date, has been favored, from the text to the stage devoted diligently literati and artists. In particular, since the formation of the play-off opera, “Pipa” has been most selected and performed the most on stage performance of “Pipa”. Therefore, “Pipa” is called “the ancestor of South opera.” However, on today’s stage, it is not a copy of the legendary “Pipa” of the Kunqu Opera, but a conscious and principled creation by later generations of literati and artists. This article intends to compare the performances of the Kunqu Opera and the Shanghai Kunju Troupe and the Yongjia Kunju Troupe by comparing the “Library” with the “Sixty Qufu” , Expounds the contemporary Kunqu Opera performances on the traditional inheritance and innovation of Ganges and Jiaxing.