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从20世纪70年代末开始,随着以余笑予为核心人物的湖北京剧剧目创作团队的中部崛起,湖北京剧也从武汉码头升华为掷地有声的鄂派京剧,从而在全国京剧界拥有不可忽视、举足轻重的地位。从余笑予及其鄂派京剧团队开始,以天才的丑行演员朱世慧担纲主演,中国京剧史上开始破天荒地出现了一批丑行大戏,形成了鄂派京剧丑行为先乃至丑行为主的新鲜局面。《徐九经升官记》、《药王庙传奇》、《膏药章》、《法门众生相》等丑行剧目,形成了京剧剧目中绝无仅有的丑行大戏的完整序列,深刻地反映出官场的腐朽、社会的乱象、历史的遗憾乃至底层人物们的悲哀,以及在生活磨难中不失其善良本性、融融爱意和责任担当的人格精神。巨大历史车轮的滚滚转动,居然也可以通过小小丑角们的一个视角,加以惟妙惟肖的深入观察和生动而深刻的舞台体现,这就是鄂派京剧的深刻社会意义之所在,也同时将丑角行当以丑见美、以喜见悲,美丑相形、悲欢互见的美学特色呈现到极致。
Beginning in the late 1970s, with the rise of the central stage of the Beijing Peking Opera repertory team with Yu Liao as the center figure, Peking Opera also sublimated from Wuhan Port to the splendid Hubei Pe Opera Peking Opera, thus having the important and pivotal role in the Peking opera industry. status. Beginning with Yu Hsiao-yu and his Hubei Opera Peking Opera team, starring in the glorious genre of actress Zhu Shih Hui, a series of ugly acts are beginning to emerge in the history of the Chinese Peking opera, forming a fresh situation characterized by the first and even the ugly behavior of the Peijing opera. The series of ugly repertoire such as “Xu Jiu Jing Sheng Guan Ji”, “Legend of Yao Wang Miao”, “Plaster of Paste” and “Famen’s Living Beings” formed the complete series of the unique scandalous operas in the Beijing Opera repertoire, which profoundly reflected the decadent and social chaos Like the regret of history and even the sadness of the bottom people, as well as the spirit of personality without losing its good nature, financial love and responsibility in the hardships of life. Huge history of the wheel rolling, actually can also be a small clown angle perspective, to vivid and in-depth observation and lively and profound stage embodiment, which is Hubei Opera Peking Opera profound social significance, but also to the clown when Ugly see the United States, like to see sorrow, beauty and ugliness, sadness and joyful aesthetic characteristics presented to the extreme.