从《书馆》看乾嘉以来昆曲《琵琶记》折子戏的继承与演变

发布时间：2018-01-28 21:34

本文关键词： 《书馆》身段谱昆曲表演　出处：《戏曲艺术》2015年02期 　论文类型：期刊论文

【摘要】：元末明初文人高明的《琵琶记》自诞生之日起,就备受青睐,从文本到舞台倾注了历代文人及艺人的心血。特别是折子戏形成以来,对《琵琶记》的舞台演出选出最多,演出最繁盛,因此《琵琶记》被称为“南戏之祖”。然而在当今的舞台上,并非是对乾嘉以来昆曲《琵琶记》的依葫芦画瓢似的照搬照抄,而是后代文人、艺人自觉而有原则的创作。本文拟通过对《书馆》一折在《六十种曲》《审音鉴古录》《缀白裘》《昆弋身段谱》与当代舞台上上海昆剧团和永嘉昆剧团的演出实际进行比较,阐述当代昆曲表演对乾嘉传统的继承与创新。
[Abstract]:The literati's brilliant pipa from the end of Yuan Dynasty to the early Ming Dynasty has been popular since its birth. From the text to the stage, it poured into the painstaking efforts of the literati and artists of the past dynasties, especially since the formation of the Xianzi Opera. The stage performance of the Pipa is the most popular and the most prosperous, so the pipa is called "the ancestor of the Southern Opera". However, it is on the stage today. It is not a copy of the Kunqu Opera "Pipa" since Qianjia, which is copied like a gourd painting, but a descendant of the literati. Artists' conscious and principled creation. This article intends to show the Shanghai Kunju Opera Troupe and Yongjia Kunqu Opera Troupe on the contemporary stage through a series of "60 kinds of songs", "reviewing Yin Jian Gu Lu", "White Fur" and "Kun Yu Duan Chuan Chuan" in the contemporary stage. The actual comparison. This paper expounds the inheritance and innovation of the contemporary Kunqu Opera performance to the tradition of Qianjia.
【作者单位】：上海大学影视艺术技术学院;吕梁山煤电有限公司办公室;
【正文快照】： 明代,昆曲家班的演出兴盛,到了清代康熙之后,由于种种原因,家班演出消歇,取而代之的是职业昆班。班中人员以演出谋生,具有相对稳定性。由于这些班社多流动演出,这样就有利于艺人们交流切磋,促进了表演艺术的发展。当时规模最大、最典型的半职业性戏班当属乾隆年间扬州盐商组织

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