摘要
《宝剑记·夜奔》就笛色而论,尺字调与小工调并存;从行当而言,本为小生戏,如今却多由老生、武生兼演;从表演来看,是典型的“一场干”之戏,演员每唱一字就有一个身段动作,唱做结合的密度之高,非常考验演员的功力。《夜奔》在京剧、昆剧的舞台上皆常演出,所唱虽都是昆腔,但在表演上又有所不同,反映出京剧与昆剧在艺术理念上的细微差异。
As far as flute-key is concerned,the tune of che coexists with the tune of xiao-gong.As far as Type of role is concerned,it is a xiaosheng’s role originally,but mostly performed by laosheng and Wusheng nowadays.As far as performance is concerned,it is a typical"one-job"drama,in which the actor has a posture movement for every word they sing,and the density of the combination of singing and performing is so high that it tests the performer’s abilities.Night Rush is often performed on the stages of Beijing Opera and Kunqu Opera.Although all the songs are Kunqu Opera,they are different in performance,reflecting the subtle differences in artistic concepts between Beijing Opera and Kunqu Opera.
作者
胡淳艳
HU Chunyan(School of Humanities and Law,North China Univ.of Tech.,100144,Beijing,China)
出处
《北方工业大学学报》
2019年第4期21-25,共5页
Journal of North China University of Technology
基金
国家社会科学基金后期资助项目“基于曲谱的昆剧笛色演变研究”(19FZWB026)
关键词
《夜奔》
笛色
行当
表演
Night Rush
flute-key
type of roles
performance