【摘要】：正 第十八場"夜宿",這場戲是全局的核心,主要唱腔。徐蘭沅、王少卿先生設(shè)計(jì)的這段唱腔是非常成功的,在社會(huì)上廣為流傳,膾炙人口,它打破了傳統(tǒng)唱腔的規(guī)律,大膽運(yùn)用了旦角[二黃導(dǎo)板]后唱四句[散板]接一句[回龍]后接二黃[慢板]。這種格式以前是沒有的,原來旦角[導(dǎo)板]后直接接[慢板],而徐、王二位大師設(shè)計(jì)的這樣一個(gè)唱腔格局,既是傳統(tǒng)唱腔的板式,又區(qū)別于傳統(tǒng)唱腔的格式,完全符合徐蘭沅先生所提出的"大的不逾越,小的可出入"和梅蘭芳提出的"移步不換形"的藝術(shù)主張。整段唱腔的演唱伴奏,充分體現(xiàn)了梅派的"大味兒大美"。
[Abstract]:This is the 18 th night-sleeping scene, which is the core of the whole situation. The choir designed by Mr. Xu Lanyuan, Mr. Wang Shaoqing was very successful. It was widely spread and popular in society. It broke the law of traditional singing. Bold use of Dan angle [two yellow guide], sing four [loose board] one sentence [Hui long], then er Huang [slow plate]. This format was not previously available. Originally, the Dan angle [guide board] was directly connected to [slow plate], but the singing pattern designed by Master Xu and Wang was not only the traditional singing style, but also different from the traditional singing format. It is fully in line with Xu Lanyuan's art proposition of "the big one is not transgressive, the small one is accessible" and Mei Lanfang's "moving step does not change shape". The singing accompaniment of the whole choir fully reflects the "great taste and beauty" of the Mei School.
【作者單位】： 中國戲曲學(xué)院音樂系;
【分類號(hào)】：J821;J617.1

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