曲白声情与戏曲表演者的文字修养——吴永嘉《明心鉴》曲白理论一瞥

• 作 者: 武云霞
• 机 构: 内蒙古工业大学马克思主义学院,
• 出 处: 牡丹江大学学报
• 发表日期: 2017年05期
• 关键词: 吴永嘉《明心鉴》 音韵 句读 古典 文字修养

作为出自戏曲艺人之手的表演艺术理论专著,吴永嘉《明心鉴》一书中的曲白理论从“音韵”“句读”以及“古典”等几个方面,给出一系列源于实践的修习技法,更为重要的是其间还特别强调了曲白声情与表演者自身文字修养的深层关系。这不仅是对中国传统唱论审美文人特性的自觉继承,更让我们看到古代优秀戏曲表演者在长期舞台表演实践中,对提高自身文化修养与艺术境界所作出的不懈努力与追求。

As the performance art theory monograph by the opera entertainer, the theory of Qu Bai in Wu Yongjia’s Mingxianjian’s book is given from several aspects such as “Phonetic ” “Sentences ” and “Classical ” A series of practice-based practice techniques, more importantly, also emphasize in particular the deep relationship between the melody and the performer’s self-cultivation. This is not only a conscious inheritance of the aesthetic characteristics of Chinese traditional singing and singing, but also shows us the unremitting efforts and pursuit made by the ancient elite opera performers in enhancing their own cultural accomplishments and artistic realm in the long-term stage performance.