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香港仙凤鸣剧团唐涤生改编的粤剧《牡丹亭·惊梦》,以忠实原著、服务演出、增加表演和戏剧性为主旨,在语言形式、剧作思想、人物形象等方面都富于岭南情趣,深具本土性民间性,广为观众喜爱。是剧为唐涤生改编的第一本明清传奇,也是唐涤生和仙凤鸣班主白雪仙改革粤剧的重要一步,促进了香港粤剧新局面的开创和香港粤剧特色的形成,成为岭南戏曲和粤剧发展的一个里程碑。同时,作为《牡丹亭》演出传播史的组成之一,粤剧《牡丹亭·惊梦》融合了多剧种多文化精华,是南北戏曲艺术在岭南的共同绽放,亦或对今天的白先勇青春版《牡丹亭》有一定影响。
The opera “Peony Pavilion · Dream” adapted from the adaptation of the Hong Kong Sin Ming Mime Theater by Tang Mie-sheng is rich in Lingnan delicacy in terms of language form, drama thought and character image, deep in faithfulness, service performances, performance enhancement and drama. With local folk, widely loved by the audience. It is also the first Ming and Qing dynasties adapted by Tang Dicheng. It is also an important step toward the reform of Cantonese opera by Bai Xixian, the teacher of Tang Diansheng and Xian Fengming. It has promoted the creation of a new situation of Cantonese opera in Hong Kong and the formation of the characteristics of Hong Kong and Cantonese opera, A milestone At the same time, as one of the components of “Peony Pavilion” performance communication history, Cantonese opera “Peony Pavilion · Dream” combines the essence of multi-opera multi-culture and is the common bloom of South and North opera art in Lingnan. Peony Pavilion "has a certain influence.