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二十多年来,马泰在评剧舞台上塑造了众多的工、农、兵、学、商、干部、知识分子等各种性格迥异的艺术形象,给人们留下难忘的印象。马泰有一副好嗓子,他的嗓音宽厚洪亮,音域高、中、低音俱全,能上能下。但他不是单纯凭着嗓音优越去拔高干唱,而是善于运用传统的吐字行腔规律,注重节奏变化,行腔起伏有致,跌宕多姿。马泰的演唱,贵在传情。他善于通过各种唱腔,细腻地表现不同人物的思想感情。自从新音乐工作者将男腔降低了四度、创造了前所未有的“越调”之后,为评剧生腔改革创造一条新路。马泰就是在这新的尝试中,在中国评剧院领导胡沙、张玮等同志的培养、支持下,大胆地迈出了第一步。他借鉴了前辈艺术家
For more than 20 years, Matei has created numerous artistic images of different personalities such as workers, farmers, soldiers, academics, businessmen, cadres and intellectuals in the Pingju stage and left an unforgettable impression on people. Matai has a good voice, his voice generous loud, high pitch, bass sound, can go up and down. But he is not simply superior to sing high voice to sing with the voice, but good at using the traditional rules of articulation, pay attention to changes in tempo, ups and downs caused ups and downs, ups and downs. Matai concert, your teaser. He is adept at expressing the thoughts and feelings of different people through various aria. Since the new music workers lowered their men’s cavities by four degrees and created an unprecedented “cross-tune,” they have created a new path for the reform of the critical period. In this new attempt, Matai boldly took the first step with the training and support of comrades such as Hu Sha and Zhang Wei, commanders from the Chinese Theater Association. He borrowed from older artists