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“花部”出自乡间,地方戏曲生自田园;皮黄进京,遂演化为国剧”——京剧,而许多地方戏曲进城后,如川剧,越剧,黄梅戏,吕剧乃至“艺龄”最短的吉剧等,也逐渐上升为一地的当家剧种。地方戏曲进城,在城市文化这个“老君炉”中经过一番磨炼,产生量的质的变化,从而升格为、完善为一地艺苑的奇花异卉。由乡野到城镇,而后定于城市,这种“定于一炉”的发展途径,是戏剧自身演进规律所使然,是不以主观意志为转移的历实和现实。如今,有人提出:戏曲要“回娘家”,即哪里生的回到那里去,——从城市退回到乡间(很有点被“休”的味道)。并把这叫做“战略转移”。既是“战略”,就不能不令人慎重思之:这种转移的方向对头么?
“Flower Department” comes from the countryside, local opera comes from pastorals; skin yellow went to Beijing, then evolved into the national drama “- Beijing Opera, and many local opera into the city, such as Sichuan Opera, Yue Opera, Huang Opera, Lu Opera and even” art age “the shortest Ji opera, but also gradually rose to a local operas.Local opera into the city, in the urban culture of the ”Laojun Furnace“ after some exercise, resulting in qualitative changes in quality, which upgraded to, to improve the art garden From the countryside to the town, and then to the city. This development way of ”being set in a furnace“ is the result of the evolution of the drama itself, and it is not the historical fact and reality of subjective will. Nowadays, it is proposed that the opera ”go back to her parents“, where the students go back, - return to the countryside from the city (a little ”off“) and call this ”strategic shift.“ It is both a ” Strategy ", we can not but think carefully: the direction of this move it?