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在纪念徽班进京200周年的演出中,中国京剧院二团新排的神话故事剧全部《宝莲灯》(编剧:吕瑞明、高文澜、刘亮、李舒,导演:孙元意),引起人们极大的关注。作为一台完整的传统剧目,全部《宝莲灯》曾在京剧的历史舞台上占据有一定的地位。但由于剧作内部结构之先天不足,该剧在“联姻”、“送子”、“送灯”、“舍子”、“救母”等关目之间缺乏一种紧密的、浑然的、有机的联系。特别是“舍子”一折,明显地游离于整出戏之外,久而久之,剧作内部的这种矛盾日趋尖锐,其结果是,全部<宝莲灯》的演出日渐式微,而“二堂舍子”折子戏的演出却日益兴盛,特别是经过梅兰芳、周信芳等艺术大师的精心创造,“二堂舍子”的艺术品味更为提高。也更加剧了其脱离母体而独立存在的离心力量。然而,“二堂舍子”
In commemoration of the 200th anniversary of the emblem class to Beijing, all of the mythical storytelling series of the new platoon of the Peking Opera Troupe of the Peking Opera Troupe includes “Lotus Lantern” (screenwriter: Lv Ruiming, Gao Wenlan, Liu Liang, Li Shu, director: Sun Yuanyi) Great concern. As a complete traditional repertoire, all “Lotus Lantern” has occupied a certain position in the history stage of Beijing Opera. However, due to the inherent deficiencies in the internal structure of the play, the play lacks a close and complete organic and organic relationship between “marriage”, “sending children”, “sending lights”, “childishness” and “ Contact. In particular, the ”sons“ of a discount, obviously free from the whole drama, the passage of time, the conflicts within the increasingly sharp contradictions, the result is that all the ”Lotus Lights“ show diminishing, and ”Second Hall The performance of “Zuzi” Zhezai Opera has been flourishing. Especially after the elaborate creation of master artists Mei Lanfang and Zhou Xinfang, the artistic taste of “Two Scholars” has been enhanced. But also exacerbated its centrifugal force independent of the existence of the mother. However, “two courtiers”