Kunqu Opera in the Last Hundred Years in China

Kunqu,literally means kun melody,is one of the most ancient forms of Chinese opera.Originally her melody derives from Kunshan zone of Jiangsu province therefore it has been named Kunshan melody before,now Kunqu also known as Kunju,which means Kunqu opera.This paper mainly focuses on the development of Kunqu in the past 100 years and the influence of historical social and humanistic changes behind the special era on Kunqu,and compares the attitudes of scholars of different schools of thought in different eras to Kunqu and the social public to compare and analyze the degree of love of Kunqu.

Kunqu Opera:Chinese Art Treasure

The history of KWKW opem dates bac卜bthelate Yuan Dynasty(1206－1368)．As one of the68Fly fOFrp Of AZ/j7qUI SOUth6FD Op6FS SpFG8d to卜Unshan a**alb旧nd*d WKh DOCaD aC口ent sndpU5lCI SRd WSS pFSCtlC6d SPd lffipFOV8d by

As a Cultural and Spiritual Homeland:Pai Hsien-yung and His Kunqu Peony Pavilion:The Young Lovers’Version

As a Cultural and Spiritual Homeland,Pai Hsien-yung and His Kunqu Peony Pavilion:The Young Lovers’Version,the new version of The Jade Hairpin,how to be the most aesthetic version,cross-border version and young version,as a sustainable development model.

The Western Reception of Distinctive Suzhou Culture:The English Translation of Cultural Signs in Kunqu Fushengliuji

Kunqu Fushengliuji(Garden Edition),newly born in 2018,is an immersive performance in a Suzhou garden(world cultural heritage),namely Canglang Pavilion,through the artistic form of kunqu(world intangible cultural heritage),which proves itself a perfect window for an audience to understand the distinctive Suzhou culture and Suzhou lifestyle.From a perspective of translation semiotics,specifically the translation of the three headings of cultural signs,we analyze its English translation by sinologist Kim Hunter Gordon,and find the status of communication of distinctive Suzhou culture to the West.With these findings,and more importantly,through the understanding and cognition of Westerners,we may be able to see the achievements and shortcomings in the communication of Chinese culture to the outside world,observe the initiative and tactics of“Chinese culture going out”,and improve them deeply and constantly.

Deducing the Intonation of Chinese Characters in Suzhou-Zhongzhou Dialect by Its Singing Technique in Kunqu:A New Probe into Ancient Chinese Phonology

Kunqu is a comprehensive art which is considered to be an epitome of the achievements of Chinese Xiqu.It was unanimously selected by UNESCO from the first round of entrants for the category of"Oral and Intangible Heritage of Humanity",with emphasis on its heritage value as embodied in language,literature,music,singing technique,dance,performance,set design,makeup,and more,and has been given the status of living fossil by artists both in China and abroad.Based on the relationship between the intonation of Chinese characters and singing techniques,especially the criterion in Kunqu that the"singing technique follows the intonation of a Chinese character",we attempt to deduce the intonation of Chinese characters in the Suzhou-Zhongzhou dialect based on its singing technique.Specifically,we deduce the archaic intonations of Chinese characters by the exclusive singing techniques in Kunqu for the purpose of exploring a new approach to Chinese phonology of the Ming and Qing dynasties from an interdisciplinary perspective of artistic criterion and linguistics.

Reviving Kunqu

The opera form is building a new audience base with a new five-year promotion plan for

昆曲现代戏创作的“守格”与“破格”——《瞿秋白》观后的思考

昆曲现代戏《瞿秋白》取得成功启示我们:编演昆曲现代戏既要遵循传统昆曲剧目一般创作规律,又要根据现代戏创作要求不唯传统、积极创新,体现出“守格”中有“破格”。在思想主题、生产方式、语言音律、情节结构、戏剧美学、舞台时空以及导演技术、表演功法、音乐资源、舞美设计等方方面面,师古今之长,加以精雕细琢,我们才能不断推出具有时代气派的昆曲现代戏力作。

曹心泉与20世纪30年代的北方昆曲传承

20世纪30年代,戏曲史上掀起又一个改良高潮。在京剧繁荣、话剧渐盛的北方剧坛,曹心泉从事着以昆曲传承为主的工作。在教学方面,他践行“以昆养京”的方法,用昆曲的深厚底蕴补益京剧;在表演方面,他记述“以花促雅”的实例,用花部的功法技巧激活昆曲市场;在音律方面,他探索“京昆相长”的路径,以中州音韵规范北曲声律与制谱之道。曹心泉的工作实践对20世纪30年代的北方昆曲传承具有举足轻重的影响,但其局限性在于,曹心泉未能关注“五四”新文化思想及戏曲界的主流研究成果,且理论与实践始终囿于北方剧坛。故其研究方法较为单一,视野亦不够广阔。

工具、肢体、空间——昆曲表演中的三种“物”叙事

一般而言,物会以对象、媒介、载体三种方式介入艺术,而在昆曲艺术中,物也以同样的方式参与戏剧叙事。首先,作为对象之物的工具(演出道具),一方面以“呈现物”的形式在昆曲演出中被展出,另一方面又以“无物之物”“借物塑象”“以物喻意”等方式为戏剧叙事服务。其次,作为媒介之物的肢体(演员身体),既是表演行为的创造者、执行者,又是戏剧作品能呈之观众的物质媒介。在昆曲演出中,受过专业程式训练的演员,通过使肢体产生复杂动作组合的方式,来达到“绘景”“言事”“达情”等多重叙事目的。最后,作为载体之物的空间(剧场舞台),看似空若无物,但其本质上却可被视为昆曲表演的物质平台,空间在为昆曲演出提供叙事场的同时,又作为叙事要素参与表演的故事传达,成为物叙事的特殊形式。

明清时期江浙私家宾礼演剧述论

明中叶以来,士绅结客成风,依托于宾礼并在私家举行的演剧活动日趋盛行,尤以江浙地区最为突出。一方面,士绅主导宾礼演剧,为昆曲编写剧本,培养伶人,建构观演空间,深度参与昆曲的创造,对昆曲艺术品格的形成发挥了重要影响。另一方面,由于演剧是款宾仪式的组成部分,观演空间既是剧场,也是交际场。建名园、蓄家乐、工诗文是士绅建构交际场的基础,而演戏、唱曲、题咏则是其在交际场中不断提高名气并积累人脉的手段。由于宾礼演剧的兴盛,昆曲的仪式功能与交际功能都得以显著增强。正是得益于文化功能的大幅提升,昆曲在明清之际达到鼎盛。总之,文化功能是决定昆曲兴衰的重要关纽。

韵动的舞台意象--新编昆剧《曹雪芹》的舞台设计解析

本文结合2022年国家艺术基金资助项目、北方昆曲剧院新编昆剧《曹雪芹》的舞台设计,对于在舞台空间中同时面对传统与现代、高科技手段与程式化表演、古典美学与当代审美需求等诸多问题,探索舞台表演与舞台空间相结合所创造的意象、呈现出的韵律以及使之产生的特定意境。

吴梅《霜厓诗录》有关戏曲诗作考论

吴梅《霜厓诗录》中有许多诗作记录了他与其他曲学家的交游、唱和活动,或直接展现了吴梅的戏曲观点,可作为探究其曲论与近代昆曲发展史的研究材料。以吴梅《霜厓诗录》中有关戏曲的诗作为研究对象,从其内容、所涉及人物与剧作出发探究,发现这些诗作可以反映出十九世纪末、二十世纪初昆曲式微的情况,展现了吴梅在戏曲界以南方为中心、北方为补充的交游范围与影响范畴,体现着吴梅要求积极意义、重理论道德教化的戏曲价值取向。

论昆曲的袖舞艺术

长袖舞蹈从中国古代绵延至今已有两千多年历史。文章梳理了中国传统袖舞的发展轨迹,发现在漫长的历史进程中,袖舞逐渐演化成水袖,成为古代戏曲中的经典舞蹈样式。昆曲水袖继承了古代袖舞的表演特征,呈现出不同的特点。随着人物角色、人物情绪、故事情境的变化,昆曲水袖表现出灵巧活泼之美、端庄优雅之美、哀婉凄楚之美、飘逸潇洒之美、沉稳持重之美等不同的艺术特征。

论程鹏举故事的戏曲改编

程鹏举故事以叙写夫妻离合之情而广为人知,元代以来流传四种相关戏曲,分别为青阳腔《易鞋记》、昆曲《分鞋记》、梨园戏《程鹏举》和京剧《生死恨》。明清时期《易鞋记》与《分鞋记》多有讹误现象,其中《易鞋记》现存全刻本,《分鞋记》留有九出残曲。《程鹏举》与其他三种戏曲剧情和人物塑造多有不同,应分属另一种故事系统。两种故事系统并立发展,出现了情节融合的现象。此外,四种戏曲发挥剧种优势,彰显了不同剧种的艺术表现力。

试论昆腔曲牌的曲腔关系

昆曲的字、腔关系一直是昆曲音乐研究中重点讨论的内容,“依字行腔”常被当作昆曲腔调组织的根本规律,而昆腔曲牌在整体层面的腔调特性往往被忽视。微观层面的曲腔分析不能代替对曲腔关系的整体把握,昆腔曲牌的腔调特性需要进行全盘审视。曲牌是否具有相对稳定的腔调框格与其文词格式、板位是否“固定”有直接关系。一支曲牌的音乐特性主要体现在由各腔句建构的整体旋律框架上。套曲中的通用性腔调材料常是单支曲牌音乐的某些“内部结构性因素”。