论文部分内容阅读
早在四十年代初,马连良、谭富英、杨宝森、奚啸伯已经同时形成了名重一时的局面,遂称之谓为我国京剧界的“四大须生”。四位先生的表演风格各树一帜,对京剧须生行当的发展影响颇深。从纵向分析,追根溯源,都是由谭(鑫培)派逐步衍生而来的。从横向剖析,他们之间的艺术联系,包括他们之间的生活联系,虽不见经传,却蕴涵着极其丰富的内涵。谈到他们横向的艺术联系,先要从纵向关系着眼。在四位未曾形成流派之前,称马连良为谭(鑫培)派老生,他当时的《辕门斩子》《四郎探母》《定军山》等剧相当著名,尔后融化孙菊仙、贾洪林等名家技艺,结合自身形成马派;潭富英的《四郎探母》《红鬃烈马》《定军山》《战太平》等剧是他早年出科后业已为人称道的剧目,他是谭鑫培之孙,又结合余(叔岩)派,通过自己发挥而成新谭派;奚啸伯“下海”初冠以谭派老生头街,《四郎探母》《击鼓骂曹》《珠帘
As early as the early 1940s, Ma Lianliang, Tan Fuying, Yang Baosen and Xi Xiaobo also formed a well-known situation at the same time, which was then called the “Four Major Musts” of the Chinese opera industry. The performance style of the four gentlemen is unique and has a profound impact on the development of Beijing Opera. From the longitudinal analysis, tracing the source, are gradually derived from Tan (Xin Pei) faction. From the perspective of horizontal analysis, the artistic connections among them, including the life links between them, although unknown, contain extremely rich connotations. When it comes to their horizontal artistic relationship, they should first look at the vertical relationship. Before the formation of the four no-gen schools, he called Ma Lianliang a famous student of Tan (Xin Pei) and his famous “Yuan Men Zha Zi”, “Siro” and “Ding Jun Shan”. Later they melted the famous singers such as Sun Ju Xian and Jia Hong Lin Martial arts, combined with their own formation of the mafia; Tan Fuying’s “Siro exploration” “red mane” “Dingjun Mountain” “war peace” drama is his early career after the industry has been praised the play, he is the grandson of Tan Xinpei , Combined with Yu (Tough Rock) School, through their own play into a new Tan School; Xi Xiaobo “sea” first crown with Tan school Lao Tau Street, “Siro exploration of the mother,” “Drum scold Cao”