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去年中央人民广播电台主办了“全国现代戏优秀唱段征集”活动,参加征集活动的一百五十六段候选唱段中,有二十八段中奖。其中汉剧《弹吉他的姑娘》一剧的“心如焚”唱段名列前六名,一举囊括全部七项奖牌。《弹》剧曾一度在全国造成一定影响,并且引起日本戏剧界友人的关注。尤其是汉剧每况愈下,该剧竟能在年轻朋友之中叫座。这个戏的创作实践活动,给理论工作提出了一系列值得探讨的新课题。本文则是着眼于剧种区别标志的声腔的编创。《弹》剧有八段主要唱腔,如果将作者的创作手法予以概括,一言以蔽之那就是“双重参照,结构改造”的三位一体法。所谓“双重参照”是指将该剧富有时代气息的主题歌作为编腔时的一大参照系,而以传统声腔作为另一参照系。“结构改造”则是指从皮黄声腔表现当代题材的需要出发,把传统的板式变化
Last year, the Central People’s Broadcasting Station sponsored the “National Modern Opera Excellent Ancestral Call” campaign. Twenty-eight of the 156 auditions for solicitation were won. One Chinese drama “play the guitar girl” drama “heart” episode top six, in one fell swoop include all seven medals. The “bomb” drama once caused some influence across the country, and caused the concern of Japanese theater friends. Especially the drama worse, the drama could actually be among the young friends. The creation and practice of this play put forward a series of new topics that are worth discussing for theoretical work. This article is focused on the distinctive symbol of opera soundtrack creation. There are eight major avenues in the “bomb” drama. If we generalize the author’s creative method, in a word it is the trinity of “double reference and structural transformation.” The so-called “double reference” refers to the play’s rich flavor of the theme song as a major frame of reference, while the traditional sound cavity as another frame of reference. “Structural transformation” refers to the performance from the needs of the contemporary theme of leather yellow set out, the traditional plate changes