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京剧作为皮黄腔家族的成员,具有花部乱弹戏民俗性、通俗性的固有艺术质地。京剧大师梅兰芳受到了齐如山、李释戡、黄秋岳等传统文化功力很深的文人影响,以雅俗共赏为目的,将中国古典审美原则注入到京剧中。梅兰芳的剧目中透着一种古意的文气和雅趣,与他同时代的其他京剧作品不太一样。他的很多戏在形式上融雅入俗,内涵上深入浅出,让雅俗相互渗透达成互补,和而不同;在风格上更像作为雅部的昆曲,却不太像作为花部的皮黄。
Peking opera as a member of the family of the yellow clavicle, with the Ministry of Peony play folklore, the inherent nature of the inherent art. Beijing Opera master Mei Lanfang was influenced by literati such as Qiruoshan, Li Shanyu, Huang Qiuyue and other traditional cultural skills, and injected the Chinese classical aesthetic principles into Peking opera for the purpose of elegance and common custom. Mei Lanfang’s repertoire reveals an ancient style and elegance that is not the same as other contemporary Beijing opera productions. Many of his plays are elegant in form, simple in meaning and simple in content, allowing the mutual penetration of elegance and customs to complement each other, and are different from each other. The style is more like the Kunqu opera which is regarded as the Ya department, but not as the yellow leather of the department of flowers.