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风云变幻的明清之际,不仅是改朝换代的多事之秋,而且是我国戏曲发展的重要转折点。当昆曲雅声和传奇创作初露颓势,开始由极盛转向低落之时,从牧歌樵唱、俚曲野调之中兴起的花部乱弹,以崭新的形式和富于时代感的风神出现在戏曲舞台上。根基雄厚,尚具有相当声势的雅部,与生机勃勃、丰富多采的花部争妍斗奇,交相辉映,我国戏曲开始由古典戏曲向近代戏曲,由曲牌体时态系统向板腔体时态系统嬗变。
The ever-changing Ming and Qing dynasties not only serve as an occasion for the change of dynasties, but also as an important turning point in the development of Chinese opera. When the elegant and decorous Kunqu opera and legendary creations began to turn from exuberant to low, the flower bulbs that emerged from the songs of idol songwriters and wild folk songs appeared in a brand new form and the Fengshen full of contemporary feeling. Drama stage. The rich foundation, yet still quite a momentum of the Ministry of Justice, and the vibrant, rich and varied flowers Yanbian struggle, add radiance and beauty to each other, the Chinese drama began from the classical drama to modern drama, tunes from the tense body system Trenches to the chamber System evolution.