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一、上海曲艺的过去与现在上海的本土曲艺在清代末年开始日臻成熟并活跃,曲种主要是沪书、本滩、锣鼓书等,后来在文明戏、小热昏、隔壁戏等艺术样式的影响下,上世纪20年代初出现了独脚戏,随后独脚戏成为本土曲艺的最大曲种。同时在民间小调和本滩、沪书、锣鼓书等的影响下出现了以唱为主的说唱以及《金铃塔》这样的经典作品,直至1956年在侯宝林先生的建议下才定名为上海说唱。加上苏州来沪的评弹,形成了独脚戏、上海说唱、评弹三足鼎立的本土曲艺格局。1930年上海的
First, the past and present of Shanghai Quyi The local Quyi of Shanghai began to mature and became active in the late Qing Dynasty. The main types of songs in Shanghai were Shanghai books, Bentan, Gongshu books, etc. Later, in the artistic style of civilized drama, twilight and next door operas, Under the influence of the early 1920s there was a one-man show, followed by one-man show became the largest variety of local folk art. At the same time, under the influence of folk minor and the beach, Shanghai books, gongs and drums, etc., singing-based rap and classic works such as “Jin Ling Pagoda” appeared until the proposal of Mr. Hou Baolin in 1956 was named Shanghai Rap Coupled with the Pingyao bombing in Suzhou to Shanghai, a one-man show, Shanghai rap, Pingtan pillars of the three local folk art pattern. 1930 in Shanghai