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1.有个不喜欢戏曲的青年人去看一位豫剧名演员演出的《抬花轿》(原名《香囊记》).归来赞不绝口,当时就有人指出,这个戏没有冲突。不久,在一个偶然的机会里又听到一位同行说这个戏没有冲突,并以不屑的口吻说道:“那算个什么戏哪!”不管你瞧得起瞧不起。《香囊记》确实是豫剧传统剧目中的一个保留剧目。40年来,数次进京,均受好评。这你就得承认,它是个好戏。那么,这个戏剧到底有没有冲突? 没有,没何正面表现冲突。那它具备不具备戏剧的本质特征?如果不具备戏剧的本质特征,它又怎么能算个好戏?倘若没有正面表现冲突,剧中主人翁的性格又是如何塑造出来的呢? 2.既然能够成为一个地方大戏的豫剧的保留剧目,不可能不具备戏剧的本质特征。不过,它具备的不是冲突,而是戏剧情境。
1. There is a young man who does not like opera to see a famous opera actor performing “lift the sedan chair” (formerly known as “sachet.”) Back to praise, it was pointed out at that time that there was no conflict in the play. Soon after, on occasion, he heard a colleague say that there was no conflict in the play and said in disdain: “What a play!” No matter if you look down upon you. “Sachet mind” is indeed a repertoire in the traditional drama of opera. In the past 40 years, several trips to Beijing have been well received. You have to admit that it is a good show. So, in the end there is no conflict in this drama? No, no positive performance of the conflict. How does it take a good show if it does not have the essential characteristics of drama? How can the characters in the play be fashioned without a positive performance of the conflict? 2. Since it can It is impossible not to have the essential characteristics of drama as a repertoire of opera in a local drama. However, it is not a conflict, but a drama situation.