论文部分内容阅读
如果说,20世纪“苏州弹词女神”朱慧珍精妙绝伦的那一曲俞调开篇《宫怨》,已然刻画了杨贵妃摇摆、挣扎、祈祷在唐明皇对她“弃与爱”的抉择之间——那种不甘于罢休“天生丽质难自弃”“三千宠爱在一身”的争爱夺宠,那么,她那同样出色不二的弹词开篇《寿堂唱曲》,则明了无比地表现出秦香莲在被陈世美弃绝之后的倒戈抗击,甚至可以说,它就是古代版“女权主义式”人性觉醒的铿锵高歌。比兴悲情啼笑曲秦香莲、陈世美的爱恨情仇,在短短一曲苏州评弹开篇《寿堂唱曲》里,用女声“张(鉴庭)蒋调”叙唱得可谓有情有义、动人动心,被朱慧珍其人其曲演绎得可谓大起大落、且开且合,把秦香莲悲情故事决绝得可
If we say that in the 20th century “Suzhou Goddess of Chudi Tan” Zhu Yuzhen exquisitely exquisite tune that Yu Yu opened the “palace grudge”, already portrayed Yang imperial swing, struggling, praying in the Ming emperor for her “abandon and love” choice Between - like the kind of reluctant to give up “natural beauty is hard to give up ” “three pet in love ” in the controversial pet, then, her equally excellent storytelling begins << Shou Tang sing >>, It is clear that Qin Xianglian defeated after being rejected by Chen Shi-mei. It can even be said that it is a sonorous song of the ancient version of “feminism”. Be Xing tragic laughter Qin Xianglian, Chen Shi-me’s love and hate, in a short Suzhou commentary “Shoutang sing”, with the girl “Zhang (Court) Jiang tune ” Symphony singing is indeed a righteous and affectionate , Moving tempted, was interpreted by Zhu Huizhen his song can be described as ups and downs, and the opening and closing, the Qin Xianglian sad story was absolutely acceptable