论文部分内容阅读
关汉卿的《窦娥冤》杂剧,在舞台上演了大約四百年以后,到了明末,有一个袁于令(明朝的生員)把它改編成传奇《金鎖記》。传奇这种艺术形式,应該說是有它的好处的,比如音乐成份加重了(杂剧每折一般只有一个人唱,传奇就可以唱“对口”,男的也唱,女的也唱,小生也唱,大面也唱,声部較齐),表演上更加复杂細致了,角色也多一些,描写范围更广泛(杂剧只限四折),故事更曲折,因而对生活的表現也就可能更深刻一些……但是袁于令的《金锁記》并沒有更深刻一些,相反的是,袁于令把这个从汉朝东海孝妇的传說直到元初的《窦娥冤》的著名悲
Guan Hanqing’s “Dou E Yuan Wrong” drama, performed on stage about 400 years later, the Ming Dynasty, there is a Yuan Yu (Ming Dynasty health staff) adapted it into the legendary “Golden Lock.” Legend of this art form, it should be said that it has the benefits of, for example, the composition of the music aggravate (drama usually only one person per song, the legend can sing “counterparts”, men sing, women sing, niche Also singing, singing the big, the voices are more homogeneous), the performance is more complex and detailed, the role is also more, more extensive description (Zaju only four fold), the story more tortuous, so the performance of life is also possible But more profoundly ... However, Yuan Yuling’s “Golden Lock” is not more profound. On the contrary, Yuan Yu-ling turned this legend from the filial piety of the East Han Dynasty in Han Dynasty to the famous sadness of “Dou E”