论文部分内容阅读
戏曲的“武打”是基、武、身、把功的综合运用,是戏曲艺术“四功”中技术性较强的一门功夫。根据不同剧情、不同人物、不同的规定情景,通过武戏中的各种“套路”及技巧来表现不同的战斗场面,有持械对打、徒手对打、飞越天堑、水中激战,其表现力是相当宽阔的,如《三岔口》中的摸黑格斗,《武松打店》中的匕首对打,《挡马》中的凭椅格斗,《战金山》中的船战,《火烧余洪》中的火战,《战马超》中的夜战……可谓各具特色,令人神往。
The “martial arts” of the opera is based on the comprehensive utilization of power, military power and body function, and is a relatively technical skill in opera art “Four Power ”. According to different plots, different characters and different stipulated scenarios, different battle scenes are represented through various “routines” and techniques in the war of arms, with armed opposition, hand-to-arm combat, overcast moat, and fierce fighting in the water. Force is quite broad, such as “Sanchakou” in the fight against the black, “Wu Song fight shop” in the fight against the dagger, “horse” by the chair fighting, Battle of the “Battle of Jinshan”, “burning Yu Hong ”In the fire,“ war Ma Chao ”in the night war ... ... can be described as distinctive, fascinating.