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(续上期)三、生命之迹明代王骥德在其《曲律》一书中曾云:“世之腔调,每三十年一变,由元迄今,不知经几变更矣。”[1]王氏说的是曲腔,其实这种“三十年一变”的人事代谢,也可推之于最易“风流总被雨打风吹去”的梨园衍变。二十世纪四十年代中期至五十年代中期(约1946至1956),是现代粤剧将盛荣与颓败演绎至盛的十年。若以二十世纪二十年代粤剧受现代思潮刺激而引发脱胎换骨的变革算起,此十年也是“每三十年一变”的最后十年。此时期的粤剧舞台呈现着斑驳杂陈
(Continued on last issue) Third, the trace of life On behalf of Wang Ji-de in his “Music Law” in a book once said: “The tone of the world changes every 30 years, from Yuan so far, I do not know after several changes carry on.” Wang said that is the melody, in fact, this “30 years a change ” personnel metabolism, but also can be pushed to the most easy “Merry always wind and rain to ” pear garden evolved. From the mid-1940s to the mid-1950s (circa 1946 to 1956), it was the decade since modern Cantonese opera performed both prosperity and decadentness. If the 20th century, the twentieth century Cantonese opera inspired by the modern thought triggered reborn transformation, this decade is also “every 30 years a change ” the last decade. Cantonese opera stage at this period presents a mottled miscellaneous