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流派,是京剧艺术成熟的路碑。过去多少年来,京剧流派放射过璀璨的光泽,但也无可避免地蒙上了历史的积尘。时代前进了,观众的审美趣味已发生了许多变化,京剧流派艺术怎么办?它将如何面对新观众?这个严峻的课题便尖锐地提到了艺术家们的面前。最近,中国京剧院四团演出了根据荀慧生先生演出本修改的《红楼二尤》(夏永泉改编,导演,刘长瑜主演),给荀派艺术注入了新的血液,赋予它以新的生命,因而赢得了大量新观众。这种成功,是同他们站立在新时代的高度,努力适应新观众的审美要求,用辩证的、发展的观点对待京剧流派艺术的思想分不开的。
Genre, is the maturity of Beijing Opera art monument. In the past many years, Peking Opera genre radiates a glittering luster, but it also inevitably casts dust on history. The times have advanced, and many changes have taken place in the aesthetic taste of the audience. How can the art of Peking Opera be treated? How will it confront new audiences? This harsh task is sharply mentioned before the artists. Recently, the four Chinese Peking Opera troupes performed Xun Huisheng’s “A Dream of Red Mansions” (adapted by Xia Yongquan, director and starring Liu Changyu) based on the revised version of Xun Huisheng’s performance of the book, injecting new blood into Xun art and giving it a new life Won a large number of new viewers. This success is with them standing at the height of a new era, trying hard to adapt to the aesthetic requirements of the new audience, and treating the Peking opera genre thought in a dialectical and developmental perspective.