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还记得去年金秋十月,《花月影》第一次在广州上演,掀起了一阵近年来难得一见的讨论热潮。外行人固然感到新奇和震撼,议论纷纷,行内人则褒贬不一,还在专业杂志上打起了擂台。一时间媒体上有关《花月影》,有关粤剧改革,有关新都市粤剧的报道多了起来,犹如在近年粤剧市场的一潭死水中,击起了浪千重。出一个好的作品难,出一个能引起各方轰动,把社会的目光引向舞台的作品更难。从《花月影》开始,粤剧在大众传媒的视野范围内,似乎有了更多的谈资政府愿意在不景气的粤剧上作投资,社会大众对粤剧也进行了重新审视与关注。
Also remember last autumn October, “Hua Yueying” staged for the first time in Guangzhou, setting off a rare discussion in recent years upsurge. Although outsiders feel novelty and shock, talk about, insiders are mixed, but also in the professional magazine played the arena. For a time, the media talked about “Flower Moon Shadow”, the Cantonese opera reform and the reports on the new metropolitan Cantonese opera more than ever. It is like in a pool of stagnant water in the Cantonese opera market in recent years, which hit a thousand miles. It is harder to come up with a good piece of work. It is even harder to create a piece of art that can arouse sensation from all quarters and lead the attention of society to the stage. Starting from “Hua Yue Ying”, Cantonese opera seems to have more talk of the government willing to invest in the sluggish Cantonese opera within the scope of the mass media. The general public has also re-examined and concerned Cantonese opera.