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本文通过花部“江湖十八本”与京剧的比照,探究演出场所、演出模式对戏曲传播的影响。前者为流动演出,以戏保人,因此常演常新,流传时间长、范围广;后者是固定演出,以人保戏,只能精益求精,其传播受到严格的限制。二者不同的营运模式直接影响到各自的传承与发展。同时,二者比较的经验,为社会转型后戏曲继续健康发展,作出重要启示。
This paper explores the influence of the performance place and the performance mode on the spread of the opera through the comparison between Peabody “The Eighteen Rivers and Lakes” and Peking Opera. The former is a mobile performance, to drama guarantors, so often played a new, long time spread, a wide range; the latter is a fixed performance, people play security, only excellence, its transmission is subject to strict restrictions. The two different modes of operation directly affect their succession and development. At the same time, the comparative experience between the two has made important revelations for the continued healthy development of Chinese opera after the social transformation.