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程式、行当、流派是戏曲的瑰宝,菊坛先贤们秉持“程式思维”“一套程式,万千性格”和“没有灵魂的程式就是一个躯壳”的理念,创造出许多作品与角色。戏曲演员对待行当的做法是固本求变,他们运用“跨行借鉴”“两门抱”和“行当反串”等方法,对构建完善的行当体系颇有裨益。流派是把双刃剑,其正能量是能促进戏曲向高级阶段发展,而短板是流派的后学者存在着盲目性、功利性,缺乏自觉性和目的性。
Program, business, genre is the drama of the jewels, Ju Tan altar who uphold the “program thinking ” “a set of programs, thousands of personality ” and “soulless program is a body ” concept, to create many Works and characters. The practice of opera actors in dealing with business affairs is a constant change. They use the methods of “inter-bank reference”, “two-door holding” and “anti-trading” to construct a sound system for running businesses. Genre is a double-edged sword, its positive energy is to promote the development of drama to the advanced stage, and the short board is a genre of post-scholars there is blindness, utilitarian, lack of consciousness and purpose.