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近年来在观赏中央电视台第11套戏曲节目时,有件事使我印象十分深刻。记得2001年5月在北京举行全国青年京剧演员电视大赛,在50名青年京剧演员的获奖名单中,竟找不到一名文丑(武丑也只四位)。担任评委的戏剧家钮骠先生感叹地说;由于我们戏曲院校对丑角人才的培养不够重视,才造成当前京剧行当强弱的不平衡(大意如此)。这话说得有一定道理。建国以来,多数戏曲院校的发展途径,多以生、旦为主,净次之,丑行并不居重要的地位,已是不争的事实。到现在3年过去了,京剧舞台上的行当依然没有什么变化;难得听到五角演员中出现哪个后起之秀。眼下能看到以丑角为主的戏,除了湖北省京剧院朱世慧演的几个新编剧目《徐九经升官记》、《膏药章》等,文丑戏恐怕只剩下《连升店》了。实则,丑角戏往往在戏里占有很重的分量,即使以生、旦为主的戏,丑角水平如不高,也会使戏减色。丑角犹如“药中甘草”,如有优秀的丑角演员,则会使戏分外出色。这里姑举数例。
In recent years, watching the CCTV 11th drama program, one thing impresses me very deeply. I remember in May 2001 held in Beijing National Youth Beijing Opera performers TV Competition, 50 young Peking Opera performers in the list of winners, could not find a Wen Chou (Wu Chou also only four). Niu Niu, a dramatist who serves as a judge, laments that the inadequacies (in the light of the present) of the current strength and weakness in the Beijing opera industry are caused by the fact that our opera academies pay insufficient attention to the cultivation of clown talents. There is some truth to this. Since the founding of the People’s Republic of China, it has become an indisputable fact that the majority of traditional opera schools have taken the lead in their development. Until now, three years have passed. Peking opera still has no change on the stage. It is rare to hear which rising star appeared in the Pentagon. Now you can see the play in the clown-based, in addition to the Beijing Opera House in Hubei Province Zhu Shihui played several new repertoire, “Xu Jiu Jing promoted to official records”, “plaster chapter” and so on, I’m afraid only Wenlou show “Lian Sheng shop.” In reality, however, clown plays often occupy a heavy weight in the play. Even if the play is dominated by life and adolescence, the level of the harlequin is not high, and the play can also be diminished in color. Harlequin is like “medicine in licorice”, if there are outstanding harlequin actors, it will make the play exceptionally good. Here are some examples.