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戏曲声腔(板腔体)的基本结构是“对应”,上下句整齐的对应结构形式,闽剧亦然。在闽剧这一剧种中,数以千计的剧目中的声腔纵横几百年而仍具艺术魅力,其关键在于变化。 “对应”可比围棋黑白二子,千百年走出的棋路图案,从无重复。“对应”的千变万化,至今未走至尽头。这便是自然、社会、人生、历史、艺术的内在相通之处;简单与复杂,平凡与伟大,均出于“变化”二字之中。
The basic structure of the opera sound cavity (plate cavity) is “corresponding”, the corresponding structural form of neat and tidy sentences is the same, and the Min operas are also the same. In the drama of Min operas, the key to the change in the thousands of repertoires is the art of charisma, which has been characterized by many years of art. “Correspondence” comparable to go black and white, thousands of years out of the chessboard pattern, from no repeat. The ever-changing “correspondence” has not come to an end till now. This is the internal interlinkage of nature, society, life, history and art. Simple and complicated, ordinary and great are all derived from the word “change.”