论文部分内容阅读
广州粤剧代表作家五十、六十年代正处于中华人民共和国建立至文化大革命之前,算是解放后粤剧在中国发展的第一阶段。剧本风格面貌比较多样化,包括偏重于传统南派性的、文采显著性的、改革移植性的、话剧导演性的、电影编演性的,式式俱备,加上戏剧干部分工齐整,制作排演认真,取得粤剧有史以来最高的成就。1949至1965年留在广州发展的粤剧编剧实在不少,除了在本章首节先后提及的艺人不计,纯编剧家包括冯志芬、徐若呆、粱梦、陈天纵、林榆、陈卓莹、林仙根、杨子静、傅炜生、陈酉名、奠志勤、陈冠卿、卢山、陈甘棠、卢丹、陈恭侃、陈璐、陈梦、陶志聪、唐峰、莫汝城、陈晃宫、关楚梅、梁海鹏、麦宝林、望江南、楚宝(蔡楚宾)、何建青、秦中英、谭青霜、黄锡龄、
In the 1950s and 1960s, the representative of Guangzhou Cantonese opera was in the first stage of the development of Cantonese opera in China after the founding of the People’s Republic of China until the Great Cultural Revolution. The styles of the scripts are quite diversified, including rehearsal of the traditional south faction, significant cultural recollection, reform and transplantation, director of the drama, film editing, Seriously, achieved the highest achievement of Cantonese opera ever. There are quite a few writers of Cantonese opera left in Guangzhou from 1949 to 1965. Apart from the entertainers mentioned in the first section of this chapter, the pure writers include Feng Zhifen, Xu Ruo, Liang Meng, Chen Tianzong, Lin Yu, Chen Zhuoying, Lin Xiangen and Yang Zijing , Fu Weisheng, Chen Youming, Zhi Zhiqin, Chen Guanqing, Lu Shan, Chen Kantang, Ludan, Chen Gongkan, Chen Lu, Chen Meng, Tao Zhicong, Tang Feng, Mo Rucheng, Chen Hangong, Guan Chumei, Liang Haipeng, Mai Baolin, Wang Jiangnan, Chu Bao (Cai Chu Bin), He Jianqing, Qin Zhongying, Tan Qingshuang, Huang Xiling,