戏曲的唱与唱词写作

Singing in Traditional Opera and Quci Creation

戏曲之"曲"可作三重解读,一是"曲折",针对剧情而言;二是"曲律",针对音声而言;三是"曲醅",针对欣赏而言。这些,均与它的演唱本质分不开。戏曲唱词的形式类型有:曲牌(联套)体,常见的杂剧、传奇等古代戏剧都是"曲牌联套体";板腔(自由)体,以京剧为代表的近代地方戏基本都属"板腔自由体";山歌(混合)体,主要是指某些歌舞类戏剧的唱词样式,其风格活泼,民间歌唱色彩浓郁;继承创造体,它追随时尚,用语新潮,自由活泼,有新诗意味;淡化板式,突出唱词的歌唱性,似有流行化倾向。戏曲唱词的写作要注意用韵、样式、修辞和炼句。让我们共同为开创中国戏曲文学的新时代,打造更多的好剧本、好唱词、好词句而努力。

In my opinion, Qu in traditional opera has implied meaning from perspectives of plotting, voice, and appreciation. And all these could not be separated from singing. Quci of traditional opera could be categorized to be Qupai, Banqiang, and mountain song, and reformed type. When we write Quci, we should pay much attention to its rhythm, semiotics, content, rhetoric, and wording. Let us try best to create more nice scripts, quci, and wording so as to open up a new era of Chinese opera literature.