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福建著名戏曲剧作家郑怀兴先生的《青蛙记》,几经修编后改为歌仔戏剧本,由厦门市歌仔戏剧团演出,前后以实验剧《荷塘梦》与镜框式舞台《荷塘蛙声》两种方式表演,历经不同导演的编排手法与诠释,呈现出截然不同的演出样貌。同时在本剧的编排演出过程中,亦引发歌仔戏音乐创作上的许多改革之处:其一是音乐设计的巧思,近年来作曲家试图在不同剧目中,为营造角色情绪与渲染气氛的音乐安排上,有意突显“剧种性特色”乐器的展现机会;其二是伴奏乐器的改革,包含武场主鼓与打击乐器之配制改革,以及文场主奏乐器小广弦之形制革新。我们非常乐见在有心人士的努力之下,歌仔戏在音乐创作方面,透过不断的改革与实验,进而走出一条属于本剧种特色之路。
Famous Chinese opera playwright Mr. Zheng Huai Xing’s “Frog in mind”, after several amendments to the Taiwanese opera scripts, performed by the Xiamen Opera Taiwanese opera group, before and after the experimental drama “Lotus pond dream” and the mirror-box stage “lotus pond frog” two ways , After different directors of the choreography and interpretation, showing a completely different show appearance. At the same time, many performances in the composition of Taiwanese opera have also been triggered during the performance of the play. One is the ingenuity of music design. In recent years, composers have tried to create a mood of emotions and render music in different repertoire. Arrangements, intended to highlight the “musical features ” the opportunity to show the instrument; the other is the reform of accompaniment instruments, including the preparation of drums and percussion instruments and the reform of the field, We are very happy to see that with the hardworking efforts of the people with heart, Taiwanese opera is going to step out of the unique characteristics of this opera through continuous reforms and experiments in music creation.