《惊见虹霓关》的探索——兼谈偶戏与人戏的辩证关系

• 作 者: 李季纹
• 机 构: 台湾中央戏剧学院表演系 博士候选人
• 出 处: 福建艺术
• 发表日期: 2005年03期
• 关键词: 虹霓关 偶戏 人戏 戏曲表演 帅旦 辩证关系 豫剧 剧种 声腔 传统戏剧

在当代剧场表演中,跨界/跨剧种的尝试已然成为一种显学。不同艺术样式的碰撞,若能够有机的结合容易出彩,但若是概念先行而忽略了其合理性与完成度,也容易砸锅。在传统戏剧这一领域,“跨”得最频繁的,乃是剧目的移植、流传,再者就是音乐、锣鼓、声腔的相濡以沫,还有破除行当限制的创新(如豫剧中的“帅旦”)。近当代地方戏曲表演中“跨”

In contemporary theater shows, cross-border / cross-genre attempts have become a significant learning. Collision of different art styles, if the combination of organic easily out of color, but if the concept first and ignore the rationality and degree of completion, but also easy to Zha pan. In the field of traditional drama, “cross” is the most frequent, but the transplants and circulation of plays are more important than music, gongs and drums, as well as innovations that eliminate restrictions (such as “Shuai Dan” ). In contemporary local opera performances, “cross”