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读了卫明同志的《写京剧现代戏如何安唱》(《戏剧报》一九六五年十二期)一文,很有启发。不过,安唱应该从内容还是从形式出发,我们与卫明同志的看法是有不同的。这里,愿提出来商榷。主要唱段应安在最能展示正面人物思想的地方卫明同志主要谈了安唱的“节骨眼”问题。他认为:“主人公走向斗争目标途中的一个转折点,不可能是全剧的高潮,而这正是女排主要唱段的‘节骨眼’。”(他说的主要唱段是指“大”唱段,我们在后面还要谈。)这种不从具体
It was very enlightening to read Comrade Wei Ming’s article “How to Anmie Modern Opera in Beijing” (Drama Newspaper, Issue 12, 1965). However, An-sing should be from the content or from the form, we and Wei-min view is different. Here, would like to put forward to discuss. The main aria should be held in the place where the most positive people to show ideas Comrade Wei mainly talked about the singing of the “critical juncture” issue. He said: “The protagonist’s turning point toward the goal of the struggle can not be the climax of the drama, and this is precisely the ’critical juncture’ of the main stage of the women’s volleyball team.” (He said the main stage is the “big” stage, and we are behind Also talk about.) This is not specific