本文關(guān)鍵詞： 《書館》 身段譜 昆曲表演　出處：《戲曲藝術(shù)》2015年02期 　論文類型：期刊論文

【摘要】：元末明初文人高明的《琵琶記》自誕生之日起,就備受青睞,從文本到舞臺傾注了歷代文人及藝人的心血。特別是折子戲形成以來,對《琵琶記》的舞臺演出選出最多,演出最繁盛,因此《琵琶記》被稱為“南戲之祖”。然而在當(dāng)今的舞臺上,并非是對乾嘉以來昆曲《琵琶記》的依葫蘆畫瓢似的照搬照抄,而是后代文人、藝人自覺而有原則的創(chuàng)作。本文擬通過對《書館》一折在《六十種曲》《審音鑒古錄》《綴白裘》《昆弋身段譜》與當(dāng)代舞臺上上海昆劇團(tuán)和永嘉昆劇團(tuán)的演出實(shí)際進(jìn)行比較,闡述當(dāng)代昆曲表演對乾嘉傳統(tǒng)的繼承與創(chuàng)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.
【作者單位】： 上海大學(xué)影視藝術(shù)技術(shù)學(xué)院;呂梁山煤電有限公司辦公室;
【正文快照】： 明代,昆曲家班的演出興盛,到了清代康熙之后,由于種種原因,家班演出消歇,取而代之的是職業(yè)昆班。班中人員以演出謀生,具有相對穩(wěn)定性。由于這些班社多流動(dòng)演出,這樣就有利于藝人們交流切磋,促進(jìn)了表演藝術(shù)的發(fā)展。當(dāng)時(shí)規(guī)模最大、最典型的半職業(yè)性戲班當(dāng)屬乾隆年間揚(yáng)州鹽商組織

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