本文選題：弋腔戲 + 清代內(nèi)廷�。� 參考：《四川戲劇》2014年09期

【摘要】：從奏折、諭旨及檔案等可管窺清宮內(nèi)廷各個(gè)時(shí)期弋腔劇目的演出狀況。清代二百六十八年,內(nèi)廷一直有弋腔戲上演,并且曾有弋腔女戲班演出。同時(shí),清初進(jìn)入內(nèi)廷的弋腔戲逐漸向雅化方面發(fā)展,與在民間的演出相比,已有較大變化。以康熙為代表的上層人士認(rèn)為,弋腔屬于雅部,而非花部。清代后期的直隸京師,昆班演員都"能昆能弋","昆弋不擋",并可臨時(shí)根據(jù)需要而改唱,由此亦見弋腔在北京的普及與影響。
[Abstract]:From the notes, oracles and archives, we can see the performance of the opera of the Qing court in every period. In the Qing Dynasty 268 years, the court has been playing the opera, and there were opera troupes. At the same time, in the early Qing Dynasty, the Yichang Opera which entered the Neiting gradually developed to elegance, compared with the folk performance, it has changed a lot. Kangxi as a representative of the upper personage that the cruise chamber belongs to the elegant, not the flower part. The late Qing Dynasty Zhili capital division, Kun Pan actors "can Kun Neng", "Kun can not block", and can temporarily change according to the needs of singing, thus also see the popularity and influence of the cruising cavity in Beijing.
【作者單位】： 中國(guó)藝術(shù)研究院;梅蘭芳紀(jì)念館;
【分類號(hào)】：J809.2

【共引文獻(xiàn)】

相關(guān)期刊論文 前10條

1 楊原;;近代北京梨園行的義務(wù)戲[J];北京社會(huì)科學(xué);2011年06期

2 賈s，

本文編號(hào)：1990340