戏曲声腔在流变中的“改”与“不改”思辩——以黄梅戏为个案

“Change” or “Not Change” in the Development and Change of the Tune of Operas——Huangmei opera as an example

“熟悉中的新鲜” ,是中国戏曲音乐大师程砚秋先生的一句至理名言 ,他准确地道出了演员创腔与观众审美的双向定位。此话如果结予理论性观照 ,即反映出一种“不改”与“改”的辩证关系。在唱者与观者集体无意识的互动中发展戏曲音乐时 ,程先生对此能够个体有意识地发现并予以精确概括 ,实属不易。而鞭辟入里的对此种“熟悉中的新鲜”流程中的“不改”与“改”的探究 ,想必是颇有理论价值的。

Novelty in familiarity” is a saying by Cheng Yanqiu, a master of opera music. He exactly defined both the actor or actress’ tune and the audience’ tastes. If it is theoretically concerned, it shows a dialectical relationship of “change” or “not change”. At the time when the singer and audience, as a collectivity, unconsciously and interactively developed the opera music, Chen, as an individual, was able to consciously find and accurately summarize it. It is of great theoretical value to make deep exploration of the “change” or “not change” in “novelty in familiarity”.