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民国时期的三种京剧史著作《伶史》、《京剧二百年历史》、《平剧二百年》,可以视为排列演员谱系、品评演员色艺的“伶史”模式之代表。清中期以后盛行的“花谱”为“伶史”之先声,至今京剧史著作中仍可见“伶史”之嗣响。隐藏在其后的以演员(名角)为戏剧核心的戏剧观是一脉相承的,深刻地影响了我们对京剧史和京剧艺术的理解和把握。
Three kinds of Peking Opera history books, such as “Ling Shi History”, “Peking Opera 200 Hundred Years” and “Ping Hua 200 Hundred Years” in the period of the Republic of China, can be regarded as representatives of performers . Since the mid-Qing Dynasty, the popular “Flower Spectacle” is the forerunner of “Lingshi”, and the writings of “Lingshi” can still be seen in the writings of Peking Opera. Hidden behind is to actress (name) as the core theater drama is the same strain, deeply influenced our understanding of Peking Opera history and opera art and grasp.