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川剧自进入剧场演出以来,由于演出空间的变化,川剧舞台上唱、做、念、打的特殊“粘合剂”川剧锣鼓,特别是它所保持的草台艺术时期的音响效果越来越强烈地引起了多数观众(尤其是青年观众)的反感,“噪”与“闹”严重地阻碍了川剧艺术事业的发展。改革川剧锣鼓,事关振兴川剧大业。多年来,很多勇于开拓创新的艺术工作者,为改革川剧锣鼓做过大量工作,并取得了一定成效。但改革川剧锣鼓是一项长期而艰巨的工作,需要大家不断地进行探索和实践,所以,面对新形势,解决新问题,努力拓展打击乐的艺术表现力,应是我们努力的方向。下面谈谈本人在改进川剧锣鼓方面的管窥之见。
Since its opening in theatrical performance, Sichuan Opera has become more and more popular with the “adhesive” Sichuan opera percussion, singing, doing, reading and playing due to the change of performance space. Has aroused the resentment of most spectators (especially young audiences), and “noises” and “noises” have seriously hindered the development of Sichuan Opera’s artistic cause. The reform of Sichuan Opera percussion, is related to the revitalization of Sichuan opera industry. Over the years, many creative artists who are bold in pioneering and innovating have done a great deal of work in reforming and perfecting Sichuan Opera and have achieved some success. However, reforming the Sichuan Opera percussion is a long-term and arduous task requiring continuous exploration and practice. Therefore, it is our direction to face the new situation, solve new problems and strive to develop the artistic expression of percussion music. Here to talk about my views on improving the percussion of Sichuan Opera.