【摘要】：新中國初期的"戲改"運(yùn)動是人們關(guān)注并頗有爭議的重要問題,在同一時期的福建"戲改"是否也和全國其他地方及劇種一樣被動搖了戲劇本體呢?文章以新發(fā)現(xiàn)的"戲改"資料梨園戲《陳三五娘》(1952年油印本)為主,從劇本與舞臺、表演等各方面厘清"戲改"的部分真實(shí)面目,比較不同時期同一劇目的各個版本,著重于對戲曲中傳統(tǒng)的精華保留與取舍的分析,并肯定當(dāng)時新文藝工作者的藝術(shù)追求與成就,以及甚至于對現(xiàn)在傳統(tǒng)劇目整理改編工作或可產(chǎn)生的影響與啟示,以便對"戲改"問題做出更理性、全面地研究。
[Abstract]:The "drama reform" movement in the early days of the people's Republic of China was an important issue that people paid close attention to and controversial. Was Fujian's "drama reform" in the same period as other parts of the country and the drama Noumenon? Based on the newly discovered "Drama Reform" material "Chen Sanwu Niang" (1952 mimeographs), this paper clarifies some of the true faces of the "opera reform" from the aspects of script, stage, performance and so on, compares each version of the same play in different periods, focuses on the analysis of the retention and trade-off of the traditional essence in the opera, and confirms the artistic pursuit and achievements of the new literary and artistic workers at that time. And even to the current traditional repertoire collation and adaptation work may have the influence and enlightenment, in order to make a more rational and comprehensive study of the problem of "drama reform".
【作者單位】： 福建省藝術(shù)研究院;
【基金】：2013年度國家社科基金藝術(shù)學(xué)項目青年課題“泉州古老劇種梨園戲口述史”(項目編號:13CB087)階段性成果之一
【分類號】：J809.2
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本文編號：2526835