A Memoir of Beijing Opera Performers: Cheng Yanqiu’s Early Life and His Art

As one of the greatest m asters of Dan 1 role performers in Beijing Opera history,Cheng Yanqiu had a very hard time in his childhood in learning the art.In this article,the author has reviewed his early life and probed into the help of Luo Yinggong who supported for his great su ccess.The author has also explored the art of Cheng’s singing,his study from Wang Yaoqing and explored how he created the melodies as well as trying to solve his making-up mystery.

Western Opera in China

“ALTHOUGH the road islong and leads far,I’llsearch hard for truth.″Ithink these lines by Qu Yuan(c.340-278 B.C.)are most appropriatein describing Western opera inChina.Opera originated from musicaldrama in Italy.From Dafne by Flo-rentine composer Jacopo Peri in1597,opera has a history of nearly400 years,if we do not count folk,church or court music and danceor song dramas in Europe.Afterspreading from Italy to Austria,France,Germany,Britain,northernEuropean countries and Russia,op-era has developed many

Mei Lanfang,Founder of the Mei School of Peking Opera

Mei Langfang was an out-standing performer of fe-male roles in both Pekingand kunqu opera in China, enjoyinga high reputation worldwide. Dur-ing more than 50 years on the stagehe created many artistic female por-traits that not only developed the artof performing female roles in

Wushu in Traditional Chinese Operas Thirty-two Chan

Chinese traditional opera often uses singing, acting, speaking and fighting as unique forms of artistic performance. In modern local operas, wushu, a Chinese martial art closely related to movements of attack and defense as disciplines has been incorporated in theatrical performances to portray different moods of characters through exaggerated movements.

Theatrical Hybridity, Thy Name Is Conflict： A Case Study on Holo Taiwan Residents Opera Troupe＇s Tai Tzu Fu Chou （The Prince＇s Vengeful Plan）

Holo Taiwan Residents Opera Troupe has produced a series of intercultural performances in Taiwan Residents Opera since the troupe adapted Nikolai Vasilievich Gogol＇s （1809-1852） The Government Inspector in 1996. In fact, there is a huge controversy over these intercultural performances which fuse western drama with traditional Taiwan Residents performing art because such a kind of theatrical hybridity lacks the spirit of the original and damages the aesthetics of native performing art practice. In 2002, Holo adapted William Shakespeare＇s Hamlet into a six-hour-long performance, Tai Tzu Fu Chou （The Prince＇s Vengeful Plan）, which the troupe tried to explore new source for traditional Taiwan Residents Opera and expected to bring something new to Taiwan Residents audience. However, The Prince＇s Vengeful Plan is considered ＂cultural collage＂ as well as an unsuccessful intercultural performance. Besides, The Prince＇s Vengeful Plan is accused to blaspheme Shakespeare because the performance merely maintains the frame of the original and distorts the spirit of the original. According to Rustom Bharucha, the most problematic aspect of intercultural performance is ＂de-historicizing tendency＂, and such a condition explains why Holo＇s The Prince＇s Vengeful Plan cannot transcend the original. In order to detect the problems of intercultural adaptation in Holo＇s The Prince Vengeful Plan, we cover the related issues in three aspects： （1） to discuss the development of Taiwan Residents Opera in Taiwan; （2） to explore the cultural conflicts when the text of the source culture is adapted into the performance of the target culture; and （3） to see how and why the spirit and aesthetics of Shakespeare＇s verses in Hamlet are distorted in Holo＇s theatrical adaptation. After that, we expect to conclude the impossibility of adapting Shakespeare＇s play into traditional Taiwan Residents Opera in the case of Holo＇s The Prince＇s Vengeful Plan.

从咏叹调看唐尼采蒂对内莫里诺的角色塑造——以咏叹调《偷洒一滴泪》为例

歌剧《爱的甘醇》是意大利作曲家唐尼采蒂创作巅峰时期的歌剧作品,时至今日,该剧仍是各大剧院长演不衰的剧目,其优美的旋律与诙谐的剧情,令无数观众为之倾心。剧中男主角内莫里诺演唱的咏叹调《偷洒一滴泪》占据整部歌剧十分重要的地位,结合剧情,从情态特征、音色的控制以及节奏与速度等角度进行分析,对其音乐意境与音乐形态进行研究,揭示作曲家对内莫里诺角色塑造的艺术独创性,进而为怎样更好地饰演这个角色提供参考。

仪式展演与民俗传统——山西洪洞县广胜寺水神庙壁画及古戏楼文化意义阐释

山西省洪洞县广胜寺水神庙中的戏曲壁画与庙前广场和古戏楼,一道构成了完整的艺术序列。这不仅是仪式展演的审美化呈现,亦是民俗传统的人本性表达。论文一方面从图像发生的整体环境出发,对戏曲壁画与庙宇内其他壁画、庙前广场、古戏楼进行联动考察,展现借鼓乐歌舞祈祷风调雨顺的仪式性文化基因;另一方面,从戏曲发生的动力因素出发,将图像中的符号表征与中国传统乐文化嬗变中所包孕的娱人向度的审美属性相结合,探究戏曲艺术不断流动生成的民俗性艺术品格。

中国歌剧的“中国性”审美意蕴呈现——以歌剧《骆驼祥子》为例

中国文化中的“中国性”特征是把握中国歌剧审美的核心要义。“中国性”既是文化特征,也是具有高度辨识度和传播性的艺术审美特征,其在艺术创作和文化审美领域的反映,形成了具有鲜明中国特色的艺术作品形式和内容。当代中国歌剧创作领域,“中国性”特征的体现尤其典型和明确,从题材内容、音乐形式、演剧传统等方面全方位承载了中国人的审美精神。在中国歌剧的审美意蕴呈现上,“中国性”特征主要表现在人民性、传神度、意境美等方面。

20世纪戏曲演出的“听觉效果”及其审美嬗变

20世纪的戏曲演出在内容和形式上不断探索新的可能性,其“听觉效果”也在不断丰富,审美视角变得多维。20世纪初,受话剧影响,戏曲演出中出现“音效”这一新的声源种类。20至40年代,现代戏的创编和导演制度的采用,促使戏曲音效得以大量运用,并催生出戏曲音效设计师这一声音设计的专职。60至70年代,“革命样板戏”的排演更是推动戏曲声音设计理念走向成熟。与此同时,现代大剧院的建造与应用,以及进入80年代后立体声、多声道等音频技术的发展,都推动戏曲演出的“听觉效果”变得更加丰富而细致,从追求朴素的“逼真性”与“闹热性”,演变为讲求音色丰满、音量均衡、整体有立体层次感的多维审美趋向。梳理20世纪戏曲演出“听觉效果”的审美发展历程,有助于持续构建戏曲舞台声音设计理论,提升戏曲演出的质量和传播效果。

首个女子现代京剧团体——坤班奎德社的创建背景、班社管理与演剧内容特色辨析

晚清民国以来,戏剧因时代变迁与观众审美而产生变革。从戏曲班社团体的角度来看,全部由女伶组成的专门从事戏曲改良的演出团体——奎德社,是清末民国时期影响最大的坤班社。奎德社是杨韵谱等人在资产阶级民主思潮影响的历史背景下,受到新戏与文明戏的启发所建立起来的。奎德社的人员组织架构、内部管理、人才培养、收入分配特色、上演的剧目、演剧的内容等,都在当时开创了班社管理的先河。奎德社在杨韵谱的正确带领下所公演的时装新戏曾风靡一时,演出的剧目紧随时代思潮,反映社会现实,这些不同主题的文明新戏,激发爱国热情、弘扬革命精神,期望达到移风易俗、挽救世风、教育民众的目的。

论虚实相生与戏曲时空的超越性

本文着重探讨虚实相生法与戏曲时空所包含的审美特质之间的关系,围绕虚实相生法对戏曲艺术的影响,从戏曲时空的多元构成、超越机制,以及时空视角、时空模式等方面,阐释戏曲时空所呈现出的审美意蕴。其中,关于戏曲的多元时空——实形的舞台表演时空、虚拟的叙事时空、空灵的审美意象时空三重时空的叠印与交叉,以戏曲表演为支点,以虚实相生为法门而实现的两次时空超越,戏曲艺术“以‘心’观时空”“以‘道’观时空”的时空视角,戏曲时间推转空间的时空模式等问题,对戏曲艺术的审美意象等美学问题做了比较深入的研究。

歌剧现代制作的符号化倾向——以策姆林斯基独幕歌剧《侏儒》三个版本为例

经典歌剧的“现代制作”已成为歌剧表演、歌剧评论和接受史不能回避的重要问题,值得从学理层面进行思考。近年来西方对经典歌剧的制作呈现出符号化倾向,或许可以成为解决歌剧“现代制作”问题的方案。以策姆林斯基的独幕歌剧《侏儒》为例,其三个版本都运用了剧中标志性的符号,并在舞台上呈现,建构起音乐与戏剧、舞台与表演之间的逻辑关联,最终形成令人信服的舞台诠释方案。符号化的制作方式注入更多个性化创造,突出戏剧与音乐中的符号意义,并由此关联到歌剧的表演,引导观众去联想符号背后的寓意,进而深化对作品的理解,引领其进入深层次精神体验。

上海大歌剧院建筑造型与参数化设计

上海大歌剧院作为上海建设全球卓越城市的文化新地标,在设计中强化“城市客厅”功能。设计通过流动扇面形态将屋顶空间、公共大厅和观众厅等区域串连起来,使建筑空间、周边景观更好地与城市相互关联。充满秩序和韵律的建筑造型既是对传统文化的传承与表现,又以宏大且连续的建筑动态表达了歌剧表演艺术的魅力。在方案设计、方案深化及建筑施工过程中,参数化设计的运用既提高了对建筑造型控制和优化的效率,又保证了建筑信息统计的精准性,对项目建设具有积极作用。