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漫长的封建时代和半殖民地半封建社会,给我国的戏曲事业带来了不少问题,要求我们来解决,以使它能更好地发展和繁荣。就以戏曲形式中的男女同台而论,翻开我国八百多年戏曲史来看,它经历了相当曲折的历程。几乎有七百多年是处在男扮女角的情况之下。这是因为在封建社会中,男女不平等,男女同台又会招致“诲淫诲盗,伤风败俗”等罪名。但查考十二世纪南宋南戏初兴时期,倒是男女同台的。这说明最早形成中国戏曲之时,劳动人民即创造出崭新的、科学的戏剧扮演形式。徐渭《南词叙录》记:“永嘉杂剧兴,则又即村坊小曲而为之,本无官调,亦罕节奏,徒取其畸农仕女,顺口可歌而
The long feudal and semi-colonial and semi-feudal society brought many problems to our country’s drama industry and asked us to solve it so that it could be better developed and prospered. As far as the male and female in the form of opera are concerned on the same stage, it has experienced quite a tortuous course when it was opened for more than 800 years in our country. Almost seven hundred years are in the situation of being a male protagonist. This is because, in feudal society, men and women are unequal and men and women on the same stage can incur crimes such as “obscene infiltration, unjust deception” and other charges. However, during the early period of the Southern Song Dynasty in the twelfth century, it was found that men and women were on the same stage. This shows that when the earliest formation of Chinese opera, the working people created a brand new and scientific form of drama. Xu Wei “Southern Ci Syria recorded” mind: "Yongjia Zaju Xing, then it is the village of the little song which, no official tone, also a rare rhythm, just take their odd women, just can be a song and