论文部分内容阅读
乾隆年间魏长生引领的秦腔突起是清代男旦艺术的第一次当红,魏氏师徒凭恃粉艳新奇的表演迅速取代其他诸腔享誉京师剧坛,秦腔男旦以刻画女性情爱心理的四种程序塑造了独特的表演范式和审美趣味。魏长生红极一时,而最终沦落,其表演固然有以色情香艳迎合低俗的因素,但秦腔男旦的兴盛归根结底仍是时势使然。其中既有社会风气与观众兴趣的裹挟与影响,也与秦腔伶旦注重风情、风致的修炼、演技与扮相的创新密切相关。魏长生的遭际反映了在杂调纷呈、竞艺京都的时代下男旦伶人浮沉起落的沧桑,也映现了男旦艺术在特定历史阶段的驳杂性,其经验与教训有待理性辨析。
Qianlong led by Wei Changsheng during the Qing Dynasty Qiongcun Protector is the first popular art of Qing dynasty men and women, Wei’s apprentice pink and Yan novel rely on the rapid performance of the other cavalry to replace the prestigious capital of the Beijing Opera, The program has shaped a unique performance paradigm and aesthetic taste. Wei Changsheng smash hit, and eventually reduced to, of course, its performance has to meet the vulgar and erotic elements, but the prosperous Qincun M denim is still the result. Among them, the coercion and influence of both social atmosphere and audience interest are also closely related to the innovations in style, style, performance and disguise of Shaanxi Opera. The vicissitudes of Wei Changsheng reflected the vicissitudes of the ups and downs of the male and female performers in the era of mixed Kyoto and Kyoto, and the miscellaneous nature of the male and female art in the specific historical stage. The experience and lessons need to be analyzed rationally.