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乾隆时期伴随着秦腔演员魏长生和四大徽班相继入京,花部乱弹对北京的主流声腔昆腔造成了强烈的冲击,北京剧坛的格局从而渐次发生改变。乱弹诸腔最终占领了整个北京剧坛,雅部昆曲生存的土壤逐渐贫瘠,它虽然进行了苦苦挣扎,但在清末也到了频临消失的险境。而伴随着花雅声腔格局的变化,北京剧坛也产生了一大痼疾,那就是表演形式的淫靡和思想内容的低俗。
During the period of Emperor Qianlong, along with the Wei-Sheng Wei of the Shaanxi Opera and the four great emblem classes of the Qin Dynasty entered the capital one after another, the Ministry of Massachusetts promulgated a violent impact on the mainstream sound system in Beijing, and the pattern of the Beijing’s music scene changed gradually. In the end, the entire space of the theater was dominated by the random artillery shells. The soil for the survival of the Kunqu Opera in the Ya-Pak area gradually became barren. Although it struggled, it also came to an end in the late Qing Dynasty. Accompanying the changes in the soundscape of Hua Ya, Beijing drama has also produced a major illness, that is, the form of obscenity and vulgar content of thought.