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1941年6月同益出版社出版的《上海弹词大观》中,收录六本有关《牡丹亭》说唱的弹词,题名为“牡丹亭(上、下)”、“牡丹亭梦会”、“杜丽娘寻梦”、“何日君再来”、“柳梦梅拾画”等。初步考证弹词来源于昆曲《牡丹亭》折子戏“游园”、“惊梦”、“拾画”、“叫画”等。“孤岛时期”上海各大剧院的昆曲演出衰微,而电台和茶楼书场的弹词艺术方兴未艾,为了迎合在抗战最为艰苦时期避难于租界的市民和江浙士绅的艺术审美需求,就把昆曲《牡丹亭》折子戏改编为弹词演出。“上海弹词”本《牡丹亭》展示了特殊历史时期《牡丹亭》演变的艺术形式。
In June 1941 Tongyi Publishing House published the “Grand View of Shanghai’s Tale of Missiles,” which included six stories about the “Peony Pavilion” rap, entitled “Peony Pavilion (upper and lower)”, “Peony Pavilion Dream Conference ”,“ Du Li Niang dreaming ”,“ He Jun come again, ”“ Liu Mengmei Picking ”and so on. The initial textual research stems from the Kunqu Opera “Peony Pavilion” offspring “garden ”, “dream ”, “pickup ”, “call painting ” and so on. In the period of “Isolated Island”, Kunqu Opera performances in major theaters in Shanghai declined, and the art of theatrical bombing on the radio and tea house books was still in the ascendant. In order to cater to the aesthetic needs of the citizens and the gentry in Jiangsu and Zhejiang who sought shelter in the concession during the most difficult period of the Anti-Japanese War, Pavilion “playbook adapted into a storytelling performance. ”The Shanghai Etripsies “ The ”Peony Pavilion“ shows the art form of the evolution of ”The Peony Pavilion" in the special historical period.