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《戏曲艺术》1987年第三期载文(刘琦《关于戏曲节奏问题的札记》)说,中国戏曲的节奏有时并不慢,为什么常常听到“节奏太慢”的批评呢?其原因是戏曲剧情行进的基本格局偏于平铺直叙。有的戏曲虽然以大段唱词表露人物的内心活动,但因台词的文学水平不高,或以单纯叙述代替必要的描绘,或以水词套语代替应有的独特的刻画,难于使演出达到戏曲美的极致。随着人们审美意识、审美情趣的变迁和欣赏水平的提高,即使戏的抒情内容与戏的节奏速度本来是基本统一谐调的关系,但由于内容带有陈旧感,也会导致使新观众产生一定程度的“节奏太慢”之感。
The article “The Art of Drama”, the third issue of 1987 (Liu Qi’s “Notes on the Rhythm of Chinese Opera”) said that sometimes the tempo of Chinese opera is not slow. Why do we often hear the criticism that “the rhythm is too slow”? The reason is that opera Plot the basic pattern of moving the partial narrative. Although some operas use large pieces of lyrics to express the innermost activities of characters, it is difficult to make the performances reach the opera because of their poor literary skills, simple depiction of the necessary depiction, or substitution of the unique and unique depiction of water words The beauty of the extreme. With people’s aesthetic awareness, changes in aesthetic taste and appreciation of the level of appreciation, even if the lyrical content of the play and the rhythm of the play had been the basic unity of harmony, but the content with the old sense will lead to a new audience The sense of “rhythm too slow”.