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一九八○年末,我有机会看到陈永玲同志演出的《贵妃醉酒》。陈永玲是于连泉先生(筱翠花)的弟子,他演《醉酒》,体现了不少“筱”派的表演艺术特点。看了以后,感到“筱”派艺术也应该批判地继承,而且可继承者还远不止这一出《醉酒》。京剧《贵妃醉酒》在艺术上是别具一格的。第一,主角杨玉环—人从头至尾独唱到底,保留了元代杂剧(旦本)的特色;但杨玉环出场先唱后念,又具南戏的形式。第二,这出戏从头至尾都唱[四平调],而且是一板三眼的板式,比其它剧目以一板一眼为板式的[四平调]复杂得多;剧终之前,还有一小节类似“尾声”的唱段,这显然是从明代地方戏如弋阳腔或昆山腔的曲牌形式发展演化而来,可以说是皮黄戏中唱[四平调]的剧目最完整的一
By the end of 1980, I had the opportunity to see “Drunken Beauty” performed by Comrade Chen Yongling. Chen Yongling, a disciple of Mr. Yu Lianquan (Xiao Cuihua), performed “drunkenness” and embodied the performing arts features of many “Xiao” factions. After reading, I feel “Xiao” art should also be inherited critically, and the successor is far more than this one “drunk.” Beijing Opera “Drunken Beauty” is unique in art. First, the protagonist Yang Yuhuan - soloist from beginning to end in the end, retained the Yuan Dynasty Zaju (Dan Ben) features; but Yang Yuhuan debut after reading, but also with the South play form. Second, the play sings [Soprano] from beginning to end, and is a three-pane plate much more complex than the other repertoire [Siping dialect]. Before the play, there was a section similar to “ End ”aria, which apparently evolved from the Ming Dynasty local opera such as Yiyang cavalry or Kunshan cavity song form evolved, it can be said that the play of yellow leather [Siping tune] the most complete repertoire