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京剧的第二道风景,不妨就“跳”到谭鑫培身上。京剧当时均以老生领衔,既然上一道风景属于程长庚,那么现在来看看谭鑫培如何制造风景,就应该认为是理所应当。谭当时有一出拿手戏《翠屏山》,其中不是按照一般的武打路子表演,而是使出了一套少林派的武功——六合刀。对此,清末民初以来的戏曲评论家无不称颂备至。更有一个关于六合刀来历的传说,为它在京剧中“安家”增添了传奇色彩——河南嵩山少林寺方丈曾某,为修盖大雄宝殿需款五万两,专程进京求西太后捐助,无奈在北京住了一年多,也没见到“老佛爷”。正在发愁
Beijing Opera’s second scene, may wish to “jump” to Tan Xinpei body. Peking Opera was led by seniors at the time. Since the last scene belonged to Cheng Changgeng, it is reasonable to consider how Tan Xinpei made the scenery. At that time, Tan had a good show of “Cui Ping Shan”, but instead of following the usual martial arts road show, he resorted to a set of martial arts - Liuhe Knives. In response, opera critics since late Qing Dynasty and early Republic of China all praise. There is a legend about the origins of Liuhe Knife, which adds legendary character to Peking Opera’s “Anjia” - Zengmou Zengmou, a monk of Shaolin Temple in Songshan, Henan Province, , But unfortunately lived in Beijing for more than a year, did not see “Lafayette ”. Are worrying