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三年前,在第二届中国戏剧节上,来自南国粤剧的一对“金童玉女”——丁凡和陈韵红率领广东省粤剧一团赴京演出的大型古装剧《魂牵珠玑巷》,至今魂牵梦系着北京的粤剧观众。前不久,这对“金童玉女”又参加了在广州举办的第五届广东省艺术节的演出,以一出新编古装戏《伦文叙传奇》荣获了优秀演出奖,并囊括了全部单项奖。相比3年前,该团在整体艺术水平上又迈上了新的台阶。广州粤剧一团是广东省粤剧院下属的演出团体之一,但它是省粤剧团和市粤剧团中唯一的一个承包实体。自1989年在体制改革中率先承包以来,走了一条适时适机的改革新路,几年来他们所取得的成绩和经验,已是那关不住的满园春色,越墙而出。多产多销多收入近年来,戏曲演出团体普遍存在的最大问题即:
Three years ago, at the second Chinese Theater Festival, a pair of “Golden Boy Girls” from the Southern Cantonese Opera - Ding Fan and Chen Yunhong led a large-scale costume play “Soul Love Aberdeen Alley” So far the dream of Beijing’s Cantonese opera audience. Not long ago, this “Golden Boy” also took part in the performance of the 5th Guangdong Provincial Arts Festival held in Guangzhou. It won the Outstanding Performance Award for a new costume drama “Lun Wen Symphony” and included all OK. Compared to three years ago, the regiment has taken a new step toward the overall artistic level. The Guangzhou Cantonese Opera Troupe is one of the performance groups affiliated with the Guangdong Yue Opera Theater, but it is the only contracting entity in the provincial Yue Opera Troupe and Yue Opera Troupe. Since taking the lead in contracting for structural reform in 1989, China has embarked on a new road of reform that is timely and appropriate. The achievements and experience they have gained over the past few years have turned out to be the unmanageable Spring Garden. In recent years, the biggest problem that pervades the opera performance groups is that: