论文部分内容阅读
清末民初,黄梅戏还处在“三打七唱”的幼年时期。皖西一带的“草台”黄梅小戏班子,尽是清一色的职业或半职业的男性演员。在这个时期,社会上把唱戏的人视为“绫罗裹破絮”的戏花子,不准进祠堂,不准上宗谱。把黄梅调叫花鼓淫戏。乡绅、族长根本不准族人当戏子。至于女人唱戏,则更是不堪设想的事。所以,在黄梅戏早期扮青衣、花旦、老旦、丫环、女丑的演员,取名为“凤霞”、“小莲”、“玉兰”、“文艳”等等,可是就没有一个是真正的女性。
At the end of the Qing Dynasty and the early Republic of China, Huangmei opera was still in its early years of “three dozen and seven sing”. Wanxi area along the “grass table” Huangmei opera group, do all kinds of professional or semi-professional male actors. During this period, the people in the community regarded the opera as a “Hanako Aragonese Wrapping Flower,” and they were not allowed to enter the ancestral halls and were not permitted to submit genealogies. Huangmei call drums obscene drama. Squires, patriarchs are not allowed to tribe as the actor. As for singing a woman, it is even more disastrous. Therefore, in the early stage of the Huangmei opera, the actors who pretend to be Tsing Yi, Hua Dan, Lao Dan, maidservants and female ugly named “Feng Xia”, “Xiaolian”, “Magnolia”, “Wenyan” and so on, Women.