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随着市民社会的形成,逐步回归到平民艺术的戏曲,却较少能够表现平民阶层对崇高的自觉追求。飘荡在民间的阳刚之气,往往只能付托于落泊文人、浪子、奇女、怪侠、丑角等边缘人物,并借助他们的嬉笑怒骂得以宣泄。因此,现代粤剧《梦·红船》(编剧梁郁南、尹洪波)所要重塑的不单是邝三华这个平民英雄的典型,而是平民阶层刚柔并济的精神,一种属于戏曲的独特的崇高之美。一《梦·红船》以中国饱受内忧外患,粤剧艺人四散,村寨不闻粤讴
With the formation of civil society and the gradual return to the drama of civilian art, less is it possible to show the sublime conscious pursuit of the civilian class. Floating in the civil masculinity, often only entrusted to the lay man, prodigal son, strange woman, strange man, harlequin and other fringe, and with their ridicule to vent. Therefore, the remodeling of modern Cantonese opera “Dream Red Ship” (screenwriter Liang Yunan and Yin Hongbo) is not only typical of the civilian hero of Kuang San-hua but of the rigid and supple working class of the civilian class, a unique lofty beauty that belongs to the opera . A “Dream Red Ship” to suffer from internal and external troubles in China, Cantonese opera artists scattered, the village did not smell Yue 讴