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在以传承传统文化和讴歌时代为创作宗旨的指引下,“京派”话剧在音乐取材方面沿用了传统戏曲和国乐精华,体现出原汁原味的“民族化”话剧编创审美。本文分别着眼于上世纪70年代“京派”话剧音乐创作对传统音乐的继承和运用;80年代面对社会文化变革时对于传统音乐元素的解构拆分;以及90年代以来用全新手法重塑传统音乐在话剧背景中的运用方式。以纵向的时代演变为基点,观察“京派”话剧对于传统音乐始终不渝的坚持和改良变通的智慧。
In the tradition of passing on traditional culture and the Acura era, the “Beijing School” drama has followed the essence of traditional Chinese opera and national music in terms of traditional music and embodied the original “nationalization” of drama to create aesthetics. This paper respectively focuses on the inheritance and application of “Beijing School” drama music to traditional music in the 1970s; the deconstruction of the traditional musical elements in the 1980s in the face of social and cultural changes; and the reshaping of new musical elements since the 1990s The way of using traditional music in the drama background. With the evolution of the vertical era as the starting point, observe the “Beijing School” drama for the unswerving adherence to traditional music and improvement of the adaptability of wisdom.