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中国评剧院一团的清宫戏《离宫怨》(仇英俊等编剧,黄雅妮导演)自1988年问世以来,受到广泛欢迎,现已成为该团的保留剧目。该剧在导演手法方面,强调对传统戏曲的“虚实结合”原则进行创造性运用。尤其在末场的一段“幻境”处理中,颇具新意的虚实变化手法在表达人物情感和深化作品主题方面发挥了突出的作用。年轻的乾隆帝,在内务府大臣傅恒之妻孙佳氏的积极协助下,查明了自己的生母不是皇太后,而是幽居热河离宫的老宫女李香珠,于是私访热河,与生母相认,并准备亲自主持生母的60寿辰大庆。在查访过程中,乾隆又倾心于孙佳氏的品貌与贤惠,孙佳氏也为乾
Since its debut in 1988, the Qing Opera “Resentment” (directed by Qiu Yingjun and director Huang Ya Ni) has been widely welcomed by the Qing Dynasty Theater of China Theater of Criticism and has now become a reserved repertoire of the regiment. In the director’s technique, the play emphasizes creative use of the principle of “combining reality with reality” of traditional Chinese opera. In particular, in the process of “fantasy” in the last game, the rather innovative method of actual and actual situation has played a prominent role in expressing emotions and deepening the theme of the work. The young Emperor Qianlong, with the active assistance of Sun Jiashi, the wife of Minister of Internal Affairs and Communications Fu Heng, ascertained that his mother was not the empress dowager, but the old palace woman Li Xiangzhu, Recognize, and prepare to personally presided over the birthday of 60 birthday daqing. During the visit, Qianlong also devoted himself to the goodness and virtuousness of Sun Jiashi, and Sun Jiashi also did his job