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新编昆剧《公孙子都》在主题开掘、人物塑造方面取得了较高成就,为传统戏的改编提供了新经验。剧本中的绝大多数唱段都标示了曲牌,说明剧作家和剧团有继承昆剧传统,保持昆剧基本特色的自觉意识和良好愿望,但细斠其音律,发现这一影响很大的剧作在唱词的句格、字格、韵格上与曲谱多有不合,联套形式亦有可商之处。曲牌联套体是昆剧文本创作的基本手法和显著特征,既然标示了曲牌,就应当力求做到合律依腔。然而,在我国当代的新编昆剧中,标示了曲牌却不守音律的现象普遍存在,即使是广有影响的名作也是如此。对此如不引起足够的重视并切实加以纠正,昆剧传统特色的保持将难以落到实处。
New Kunqu Opera “Gongsunzi Du” made great achievements in theme excavation and characterization, which provided new experiences for the adaptation of traditional plays. The vast majority of plays in the script are marked with the song card, indicating that the playwright and theatrical troupe have inherited the tradition of Kunju Opera and maintained the awareness and goodwill of the basic characteristics of Kunju Opera. However, Sentences in the lyrics, the word lattice, rhyme and music scores on the many differences, there are also available in the form of merchants. The combination of Tunes is the basic technique and significant feature of the creation of Kunqu Opera texts. Since Tunes are marked, we should try our best to achieve conformity. However, in the contemporary new Kunqu Opera in China, there is a widespread phenomenon that the tunes are not observed, yet even the most influential masterpieces are. If this is not enough attention and be corrected, the traditional characteristics of Kun Opera will be hard to implement.