本文選題：昆弋腔 + 高潮階段��； 參考：《人民音樂》2014年11期

【摘要】：正中國(guó)的戲曲藝術(shù),先后經(jīng)歷了先秦樂舞與俳優(yōu)的濫觴期,隋唐"參軍戲"、"踏搖娘"等歌舞戲的雛形期,至宋雜劇、金院本的出現(xiàn),標(biāo)志著戲曲藝術(shù)的正式形成。此后,又經(jīng)歷了元雜劇、明傳奇及清代梆子、皮黃、地方小戲幾個(gè)高潮階段。中國(guó)戲曲的藝術(shù)長(zhǎng)河奔流至今,受到了現(xiàn)代文明的強(qiáng)大沖擊。在這種沖擊下,有的劇種仍在顯示著傳統(tǒng)藝術(shù)那頑強(qiáng)的生命力;而另一些劇種只在個(gè)別劇團(tuán)由國(guó)家供養(yǎng)而存活,在民間則進(jìn)入了它的消亡階段。曾經(jīng)盛行于河北省的弋陽腔和昆山腔,就屬于這種情況。
[Abstract]:The traditional Chinese opera art has experienced the origin of the music and dance of the pre-Qin Dynasty and the superior performance successively, the rudimentary stage of the song and dance operas of Sui and Tang dynasties, such as "joining the Army", "Ta-yao Niang", and so on, to the appearance of the Song Dynasty drama and the Jin Yuan's edition, which marks the formal formation of the opera art. Since then, has experienced the Yuan zaju, Ming legend and Qing Dynasty Bangzi, Pei Huang, local drama several climax stages. The art of Chinese opera has been greatly impacted by modern civilization. Under this kind of impact, some plays are still showing the tenacious vitality of traditional art, while others only survive in individual theatrical troupes supported by the state, and enter the stage of dying out in the folk. This is true of the Yiyang and Kunshan tunes that once prevailed in Hebei Province.
【作者單位】： 河北大學(xué)藝術(shù)學(xué)院音樂系;
【分類號(hào)】：J809.2

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本文編號(hào)：1916349