【摘要】：昆劇《公孫子都》是由浙江昆劇團(tuán)于1997年起稿、歷經(jīng)“四易其名、十易其稿”并在繼承傳統(tǒng)的基礎(chǔ)上,保持常演常新的一部新編昆劇劇目。該劇是根據(jù)京劇《伐子都》一折為原型,進(jìn)而重新創(chuàng)作,用整本昆劇武生戲的方式予以呈現(xiàn),在常以“三小戲”(小生、小旦、小花臉)見(jiàn)長(zhǎng)的昆劇舞臺(tái)上,可謂是獨(dú)樹(shù)一幟。該劇創(chuàng)作過(guò)程長(zhǎng)達(dá)十幾年,通過(guò)對(duì)劇本的整“舊”如“新”,對(duì)音樂(lè)的整“新”如“舊”,以及對(duì)表演、舞美等方面長(zhǎng)久的雕琢打磨,最終確立以“武戲?yàn)橹�、兼有文戲”的“心理劇”的�?chuàng)作概念,在不斷的舞臺(tái)實(shí)踐過(guò)程中綻放異彩,使其在國(guó)內(nèi)外重要的評(píng)比參演中折桂大獎(jiǎng),屢獲殊榮。對(duì)于一部新編昆劇武戲,其創(chuàng)作時(shí)間之漫長(zhǎng)、排演過(guò)程之艱辛、改編手法之繁復(fù),不但是劇目自身在新時(shí)期昆劇傳承道路上的一次積極探索,也是當(dāng)下眾多新編劇目創(chuàng)作過(guò)程中的一個(gè)突出縮影。 本文以新編昆劇《公孫子都》作為研究對(duì)象,以劇目的創(chuàng)編者、演出者——浙江昆劇團(tuán)作為考察對(duì)象,通過(guò)歷時(shí)兩年的田野調(diào)查,對(duì)該劇在傳統(tǒng)歷史故事整改、傳統(tǒng)唱腔與現(xiàn)代作曲手法結(jié)合、昆劇武戲表演、現(xiàn)代劇場(chǎng)展示的舞美效果以及作品問(wèn)世后所產(chǎn)生的多種反饋,都做了認(rèn)真整理,并對(duì)其調(diào)查資料進(jìn)行了較為系統(tǒng)研究與客觀分析,力求還原該劇的創(chuàng)作歷程,以期對(duì)新編劇目中出現(xiàn)的“傳統(tǒng)與現(xiàn)代融合”的各種實(shí)踐形式做出一些梳理性的探索,以此拋磚引玉,進(jìn)一步探討新編昆劇在創(chuàng)作上的經(jīng)驗(yàn)與得失。
[Abstract]:Kunqu Opera "Gongsun Zi" was published in 1997 by Zhejiang Kun Opera Troupe. After "four changes of its name, ten of its manuscripts" and on the basis of inheriting the tradition, it maintained a new repertoire of Kunqu opera. The opera is based on the 90% discount of Beijing Opera, and then re-created, presented in the way of the whole Kun Opera Wusheng Opera. It is unique on the stage of "three small operas" (Xiao Sheng, Xiao Dan, Xiao Hua face). The production process of the play lasted for more than ten years. Through a long period of refinement of the script, such as "new", "new" and "old" of music, as well as the long period of orchestration and polishing of performances, dance and beauty, it was finally established that "martial arts" were the main elements. The creative concept of "psychological drama", which combines the literature and drama, blooms brilliance in the process of continuous stage practice, and makes it win many awards in the important competition and performance at home and abroad. For a newly compiled Kunju Opera, the long time of its creation, the difficulty of the rehearsal process and the complexity of its adaptation techniques are not only an active exploration of the repertoire itself on the road to the inheritance of Kunqu Opera in the new period. It is also a prominent microcosm in the process of creation of many new repertoire. This article takes the newly compiled Kunqu Opera "Gongsun Zi du" as the research object, takes the producer and producer of the repertoire, the Zhejiang Kunju Opera Group as the object of investigation, through two years of field investigation, corrects the drama in the traditional historical story. The combination of traditional singing and modern composition techniques, the performance of Kunju Opera, the dance effects of modern theatres and the feedback generated by the works after their publication have all been carefully sorted out. It also makes a systematic study and objective analysis of its investigation materials, and tries to restore the creation course of the play, in order to make some combing exploration on the various practical forms of "the fusion of tradition and modernity" which appear in the new screenplay. In order to further explore the new Kunqu Opera in the creation of experience and loss.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：J82

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