浅论乡音版《临川四梦》对抚州地方戏曲的创新与发展——以第二折《牡丹亭》为例

On the Impact of the Local-accent Copy of Linchuan Four Dreams on Local Operas——Taking the Second Act of The Peony Pavilion as an Example

在隆重纪念汤显祖逝世400周年之际,汤显祖的家乡抚州市创排了抚州乡音版《临川四梦》,本剧运用古典的盱河高腔,水墨风格的大写意手法及充满梦幻色彩的舞美布景,并融合了多剧种艺术精华,形成了独具特色的声腔语汇与艺术风格,在戏剧理念、演唱风格、舞台美术上有重大的突破。以乡音版《临川四梦》中的第二折《牡丹亭》为例,从剧本的编导、戏曲音乐的创作、唱腔表演、舞美设计等方面,探讨乡音版《临川四梦》创作中的传承与创新。

For marking the 400th anniversary of the death of Tang Xian-zu, the local-accent copy of Linchuan Four Dreams has been created in Tang＇ s hometown, Fuzhou city. With classical Xu River high-pitched tune, vig- orous freehand brushwork in ink painting style, a stage set filled with fantastic colors and a blend of essence of many operas, this local copy opera forms its unique tune words and art style, and has great advancements in opera concepts, singing style and stage art. This paper takes the local-accent copy of the second act of The Peony Pavil- ion as an example to explore the inheritance and innovation of the local-accent copy of Linchuan Four Dreams from the aspects of the script conducting, opera music creation, singing performance and stage art design.