论文部分内容阅读
本世纪80年代.粤剧和其他戏曲艺术一样存在危机,有些艺术理论家发出悲观的论调。例如,雨人在《文艺理论家》创刊号发表文章认为,戏曲正在衰亡,已经日落西山,要敢于运用辩证唯物主义的思想正视戏曲衰亡的必然性。孙川在1986年第12期《人民音乐》上撰文提出,一曲多用是导致戏曲衰落的重要原因。我的看法正好相反,戏曲的生命力之一就在于它能一曲多用。能运用有限的曲牌塑造出无限的音乐形象,表达不同人物的思想感情,这是戏曲音乐与一般音乐不同的地方。我曾运用系统论的观点,说明曲牌功能的有限与无限的辩证关系,曲牌有限,曲牌的运用是无限的。
In the 1980s, Cantonese opera had the same crisis as other traditional opera art, and some art theorists issued pessimistic arguments. For example, the rainman published an article in the first issue of “literary theorists,” arguing that the opera is now declining and has fallen on the Western Hemisphere. He should dare to use the dialectical materialism to address the inevitability of the decline of the drama. Sun Chuan wrote an article in “People ’s Music” in 1986, which is an important reason for the drama decline. My view is just the opposite, one of the vitality of drama is that it can be more than one. Can use a limited number of tunes to create an infinite musical image, expressing the thoughts and feelings of different people, this is the opera music and general music different places. I have used the theory of system theory to explain the limited and infinite dialectical relationship between the functions of the songs and the songs. The songs are limited in number and the use of the songs is unlimited.