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在进入对黄梅表演艺术的思考时,一个矛盾便突现在我们面前:作的一个地方剧种,它所给予我们的审美感受显然有别于京剧以及其它地方戏,拥有着剧种独特的舞台美学风致;作为戏曲样式的一种,它所运用的表现手段无非还是一般理论所归结的“唱做念打”,似手又看不出它和其它剧种有什么不同。当然,正如有的论者所指出的,唱腔是黄梅戏区别于其它剧种的标志。然而,除了唱腔,黄梅戏表演的美学风致依然呈现着自己的独特性。设想一下,如果别换一个剧种搬演《天仙配》、《女驸马》,舞台上将是什么样的美学风彩?看来,对黄梅戏表演艺术的美学特色确实需要深入地思考、认真地总结了。 我们认为,对这一问题的思考至少要从两个出发点延伸:其一,黄梅戏是艺术的一支,它必然要遵循着艺术的基本规律,同时也遵循着戏剧和戏曲艺术的基本规律,否则,它就不可能存在和发展;其二,黄
When entering into the thinking of the performance art of Huangmei, a contradiction suddenly emerges before us: as a local operas, the aesthetic feelings it gives us are obviously different from Peking Opera and other local operas and have a unique stage aesthetic style of opera. A kind of opera style, it is nothing more than the performance of the means used by the general theory of the “sing and read”, likewise can not see it and other drama What is the difference. Of course, as some commentators have pointed out, the aria is a symbol of the Huangmei opera different from other operas. However, apart from the singing, the aesthetics of the performance of Huangmei opera still presents its own uniqueness. Imagine, if you do not change a drama to play “angel match”, “Nuwa horse,” what kind of aesthetics will be on stage? It seems that the aesthetic characteristics of performing arts of Huangmei opera really need to think in depth, carefully summarized . We think that thinking on this issue should at least extend from two starting points: First, Huangmei Opera is one of the arts. It must follow the basic laws of art and at the same time follow the basic laws of drama and traditional opera. Otherwise, , It can not exist and develop; second, yellow