曲剧自五十年代初崛起于首都,以其鲜明的艺术特色和旺盛的生命力赢得了戏剧界与首都观众的广泛赞誉。最近,由北京曲剧团演出的根据同名小说改编的曲剧《少年天子》又一次轰动首都剧坛。该剧从选材到立戏,历时三载,数易其稿,从文学剧本、音乐唱腔、舞台美术到导表演都进行了可贵的探索,取得了舞台艺术整体的审美价值。人物性格意蕴的深层开掘该剧取材于清初顺治帝福临的一段史料。福临少年亲政,正值清兵入关统一华夏之际。这是两个民族、两个政权、两种文化的一次大撞击。《少年天子》没有正面表现这场撞击,而是根据曲剧对题材驾驭的擅长与局限,将视角移向宫廷内部不同政见、习俗、文化心理的悖逆,并以福临与乌云珠(董鄂妃)之间的 Since its rise in the capital in the early 1950s, Qu Opera has won widespread acclaim from the theater industry and the capital’s audience for its distinctive artistic features and strong vitality. Recently, the opera “Boy of the Year”, a musical based on the novel of the same name, performed by the Beijing Opera Troupe once again hit the capital’s theater scene. The selection of the play from the material to the establishment of the play, which lasted for three contained, the number of easy drafts, from the literary script, music singing, stage art to conduct performances are valuable exploration, and achieved the aesthetic value of the stage art as a whole. Digging the character of the character deep excavation of the drama in the early Qing Shunzhi Dili Fulin a period of historical data. Fulin junior pro-politic, is a time when the Qing soldiers into the customs of a unified China. This is a big clash between the two ethnic groups, the two regimes and the two cultures. The “boy and the child” did not show the impact in a positive way. Instead, they shifted their perspectives to disobedience of dissidents, customs and cultural psychology inside the court, based on the good and limited control of the drama on the subject matter. In addition, with Fulin and Wu Yunzhu (Dong E Fei) Between