论周信芳演剧的文化性质

发布时间：2018-08-25 12:48

【摘要】：正京剧界往往"梅(兰芳)周(信芳)"并称,把两人作为改革、进步的表演艺术大师一起纪念,这使得人们往往偏重于注意他们的共同之处,而有意无意地忽视、回避或掩盖了两人在文化性质上的明显差异。围绕在梅兰芳周围的"梅党"们多是旧式文人,而周信芳则和新文化战线上的田汉、欧阳予倩都过从甚密,甚至是生死之交,在演剧观念上也自然是声气相求,相互呼应,在京剧改革的道路上步调一致、相互支持。这都深刻地影响着他们各自的戏剧实践。如果我们说田汉、欧阳予倩、周信芳是中国20世纪以新的文化观念推动戏曲改革的三驾马车,那么,一般来说对前二者估计不大会有疑问,但是,对于把京剧艺人出身的周信芳也纳入这个阵营,恐怕就难免产生异议了。本文想说的正是,由于有了周信芳等一批新型的表演艺术家的存在,田汉、欧阳予倩等人的
[Abstract]:Zhengzheng opera circle often "Mei (Lan Fang) Zhou (Xin Fang)" said that the two people as reform, progress of the performing arts masters together to commemorate, which makes people tend to pay attention to their common ground, and intentionally or unintentionally ignored, Avoid or hide the two people in the cultural nature of the obvious differences. Most of the "Mei Party" around Mei Lanfang are old-fashioned literati, while Zhou Xinfang and Tian Han, Ouyang Yuqian, on the new cultural front, are all very close to each other, even when it comes to the acquaintance of life and death. Naturally, in the concept of acting, they are asking for each other, echoing each other. In the Beijing Opera reform on the road to step by step, mutual support. All this profoundly influenced their respective theatrical practices. If we say that Tian Han, Ouyang Yuqian and Zhou Xinfang are the troika of Chinese opera reform with new cultural concepts in the 20th century, then, generally speaking, there will be little doubt about the first two, but, For the Peking Opera artist born Zhou Xinfang also into this camp, I am afraid there will inevitably be objections. What this article wants to say is precisely, because of the existence of Zhou Xinfang and a group of new performing artists, Tian Han, Ouyang Yuqian and others
【分类号】：J821

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