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徽班、京班对于闽剧发展有非同一般的意义,单就剧目研究来说,闽班在与徽班、京班的交流过程中,吸收了徽、京大量的剧目,这些剧目的传入,其意义不仅仅在于剧目的丰富,也在于随附剧目之上的徽班、京班的舞台表演艺术,包括唱腔、念白的优化,音乐伴奏的改革,文场、武行各行当表演程式的完善,以及戏曲审美习惯的转化等,它们深刻影响了闽剧的艺术表现形式,很大一部分参与了闽剧剧种风格的塑造。当然,之所以把徽班、京班带来的剧目称作外来剧目,主要是在概念上区分本土题材剧目以及文人艺人自创剧目,经过长时间的舞台锤炼,它们现今都已经充分本土化、地方化,成为闽剧的传统剧目。
The emblem class and the Jingban class have different meanings to the development of Minzu drama. For the drama study alone, the Minban class absorbed a large number of emblems from the emblem class and Beijing class during the exchange with emblem class and Beijing class, , Its significance is not only rich in repertory, but also is included in the emblem classes on top of the repertoire, stage performances in Beijing classes, including the singing, optimization of the dialogue, music accompaniment reform, the text field, martial arts Perfection, and transformation of the aesthetic habits of the opera, which have profoundly influenced the artistic expression of the Min operatic drama and largely participated in shaping the style of the Min operatic drama. Of course, the reason why the repertoire brought by the emblem class and the Beijing class is called an alien repertoire is mainly to conceptually distinguish the repertory of local themes and the repertoire of literati artists. After a long period of tempering, they are now fully localized. Localized to become the traditional drama of Min operas.