试论京剧从脚色行当到流派的发展脉络:以生行、旦行为例(1850-1920)

来源 :戏曲研究 | 被引量 : 0次 | 上传用户:WHBGODWHBGOD
下载到本地 , 更方便阅读
声明 : 本文档内容版权归属内容提供方 , 如果您对本文有版权争议 , 可与客服联系进行内容授权或下架
论文部分内容阅读
前言京剧表演艺术的代表是流派。从戏曲史而言,今天为观众所熟知的流派是很新的现象,与历史悠久的脚色行当比较起来尤为明显。流派始于京剧的老生“三杰”:程长庚(1811-1879)、余三胜(1802-1866)、张二奎(1814-1860)三人,三杰活跃于北京舞台的时间,约在1850年前后。到了1920年代,以梅兰芳(1894-1961)为代表的四位旦脚演员先后在北京成名,即是著名的“四大名旦”。1850年到1920年,是京剧 Preface Peking opera performing arts representatives are genres. From the history of the opera, genres familiar to the audience today are very new phenomena, especially when compared with the long-established roles and practices. Genre began in Peking Opera veterans “Sanjie ”: Cheng Changgeng (1811-1879), Yu Sansheng (1802-1866), Zhang Erkui (1814-1860) three, Sanjie active in Beijing stage time, circa 1850 Before and after. By the 1920s, four Dan-an actors, represented by Mei Lanfang (1894-1961), became known in Beijing as the famous “Four Famous Dignitaries.” 1850 to 1920, is Beijing Opera
其他文献