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抗日战争初期“旧瓶装新酒”改革方式的失败,以及话剧界“大戏热”的盛行,促使延安戏曲界开始探索新的改革方式以适应时代的需求。以延安平剧院成立为开端,以《逼上梁山》的编演为标志,延安戏曲界探索出一种新的戏曲改革模式。这种改革模式在剧目创作上呈现出思想第一、题材内容具有现实针对性以及集体创作三个特色。在表演方面打破京剧的传统角色体制,创造出融合多个行当于一体的新角色形式,并且在念白和程式方面有新的发明和创造。延安戏曲改革为解放战争时期的戏改试验以及新中国建立后大规模开展的戏改工作奠定了基础。
In the early days of the War of Resistance Against Japan, the failure of the reform methods of “old bottled wine” and the prevalence of the “dramatic drama” in the drama industry prompted the theater industry in Yan’an to start exploring new ways of reform to meet the needs of the times. With the establishment of Yan’an Ping Theater as a starting point and the performance of Liangshan as a sign, the drama industry in Yan’an has explored a new mode of opera reform. This reform model shows the ideological first in the composition of the play, the content of the theme is realistic and collective creation of three characteristics. Breaking the traditional role system of Peking Opera in performances, creating a new role form that incorporates multiple agents in one body, with new inventions and creations in reading and programming. The reform of the drama in Yan’an laid the foundation for the test of the dramatization in the period of the Liberation War and for the large-scale dramatization after the founding of new China.