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杨家将的故事似乎是中国戏剧舞台上一个古老的、永久的话题,各式各样的剧目将这个家庭的恩恩怨怨、离台悲欢说得极为明晰和透彻。历史匆忙地步入到二十世纪的尽头,回眸杨家将剧系在舞台上的演变,令人惊喜地发现,当代的剧作家对这一传统题材的选择已升华到了“忠、孝、勇、义”之上的更新高度。90年代初,新编历史剧《魂断天波府》引起了戏剧界的关注。从题材取向上看,这部剧摒弃了固有的征戍边疆、忠烈满门的内容,而开始注重一种对非理性的道德批判:在天波府上上下下为杨七娘杜金娥立贞节牌位时,当年七郎与七娘私定终身所生的儿子杨宗英上门寻母。在权衡了一切利弊之后,七娘选择了忠孝节义
Yang’s story seems to be an ancient and permanent topic on the Chinese drama scene. Various kinds of repertoire tell the family’s grievances and grievances and utmost clarity and thoroughness. History hastily entered the end of the twentieth century, reviewing the evolution of the Yang family drama on the stage, surprisingly found that the contemporary dramatist’s choice of this traditional theme has been sublimated to “loyalty, filial piety, courage , Meaning ”above the update height. The early 90s, the new historical drama “Soulbreaker wave Palace” has aroused the concern of the drama industry. Judging from the theme orientation, this play abandons the inherent contents of the frontier and loyalty of the garrison, and starts to pay attention to a kind of irrational moral critique: When Yangpu Niang Du Jin’e was up and down at Tianbo House, And the privately owned son of Tsai nun Yang Tsung-ying home to find a mother. After weighing all the pros and cons, the Qiang chose loyalty and filial piety