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和语音改革有直接关系的,是秦腔唱念技巧的改革问题。戏剧艺术塑造人物、表现思想虽有唱念做打四法,但总以唱念为本。秦腔的唱念素有刚劲雄豪、慷慨昂扬之誉,特别是净角与生角的唱念,更突出地表现了这种特色。有些人不加分析地认为这种慷慨悲歌最能表现中华民族的伟大性格,特别表现了西北高原劳动人民粗犷豪迈的地方本色。其实,这个问题也要作具体分析。《三滴血》和《火焰驹》在泉城演出时,观众于唱念上反映最好的首推旦角,其次小生,再次须生,最下净角。陈妙华与全巧民的《虎口缘》一场,最受观众欢迎,而须生泰斗刘毓中先生及著名净角周辅国先生的唱念,有不少观众听不懂,一些青年坐不终席而退场。周仁瑞与王氏路遇时唱的滚白“我叫叫一声王大嫂……”,观众
Directly related to voice reform is the reform of the singing skills of the Shaanxi Opera. Dramatic art to create characters, although the performance of the thought of singing to play four law, but always sing to read. Qin cavalry known as the heroic vigorous, generous high-spirited reputation, especially the net angle and angle of the singing, more prominent performance of this feature. Some people, without any analysis, think that such a generous tragedy best represents the great character of the Chinese nation, and in particular shows the local qualities of the rough and heroic working people in the Northwest Plateau. In fact, this issue needs to be analyzed in detail. When “Three Drops of Blood” and “Flaming Horse” performed in Quancheng, the audience reflected the best first-rate denomination in singing, secondly, niche, and again, the lowest net angle. Chen Miaowu and Quan Qiaomin’s “Tiger Mouth,” a scene, the most popular audience, and must be the life and death of Mr. Liu Yusheng and famous net corner Mr. Zhou Fuguo sing, there are many viewers do not understand, some sat out of the seats and exit . Zhou Renrui and Wang Lu Road when singing white “I called King Sister ... ...”, the audience