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粤剧作为地方戏,它与京昆剧种的表演特征相通,教学方面遵循“四功五法”系统性的训练,粤剧剧目教学由于师资缺乏,还有对行当演员的培养重视不够等原因,剧目建设一直比较困难,使剧目移植成为了一条便捷可行之路。在剧目移植过程中,学习被移植剧目的表演方法和塑造人物的处理手段等,并将它融化到本剧种的表演程式当中是移植成功的关键。京剧《李逵探母》是一出架子花脸行当剧目,做、念、唱并重,架子花脸行当对于粤剧教学剧目移植来说,对该行当做功的借鉴和学习至关重要。笔者通过对音乐唱腔设计、剧本改编、粤剧表演程式的植入等步骤方法,尝试对《李逵探母》进行了移植改编。其中,既有继承,也有发展创造,对这一课题的探究,不但对粤剧教学剧目建设带来积极动力,也希望可为地方戏在向京昆等剧种借鉴、学习的过程中,作出一定的参考意义。
Cantonese opera, as a local opera, is connected with the performances of Peking Opera and Kunqu Opera. The teaching follows the systematic training of “Four Skills and Five Laws”, the teaching of Cantonese opera is lack of teachers and there are not enough attention paid to the actresses. Construction has always been more difficult, making the porting project a convenient and viable route. In the process of transplanting, learning the transplanting method of performance and the method of shaping the character, etc., and melting it into the performance program of the opera is the key to the success of transplanting. Beijing Opera “Li Mi and his mother” is a shelf face to face when the repertoire, do, read, sing the same, shelf face to face opera Cantonese opera repertoire, the line of reference and learning is essential. The author attempts to transplant “Li Mi Luntong” through the method of music singing design, script adaptation and the implantation of Cantonese opera performance program. Among them, both inheritance and development and creation, the exploration of this subject not only brings positive momentum to the construction of Cantonese opera repertoire, but also hopes to make certain reference for the local drama in the process of reference and study to Beijing opera significance.