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新中国初期的“戏改”运动是人们关注并颇有争议的重要问题,在同一时期的福建“戏改”是否也和全国其它地方及剧种一样被动摇了戏剧本体呢?本文以新发现的“戏改”资料梨园戏《陈三五娘》(五二年油印本)为主,从剧本与舞台、表演等各方面厘清“戏改”的部分真实面目,比较不同时期同一剧目的各个版本,着重于对戏曲中传统的精华保留与取舍的分析,并肯定当时新文艺工作者的艺术追求与成就,以及甚至于对现在传统剧目整理改编工作或可产生的影响与启示。
At the beginning of new China, the movement of “revise” was an important and controversial issue of concern to the people. In the same period, whether or not “revise” in Fujian was also shaken theaters itself as the rest of the country and operas? The newly discovered “drama” information Liyuan Opera “Chen Sanwu Niang” (five or two years of oil printing) mainly from the script and the stage, performance and other aspects to clarify “play change ” part of the real face, Comparing different versions of the same play in different periods, focusing on the analysis of the reservation and rejection of the traditional elite in the opera, and affirming the artistic pursuit and achievement of the new literary and art workers at that time, and even the possible reorganization and adaptation of the traditional repertory Influence and Enlightenment.