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随着时代的发展,人们对文艺作品的感知在变,对经典模板的重新解读成为必然,戏曲里《白蛇传》文本意义上的另起灶台早已常见,昆曲《雷峰塔》的白蛇尚留妖气,许仙相对自私,到京剧田汉先生的本子,此白蛇更有人性,许仙也多了几许真情,再到去年上海小剧场京昆合演《春水渡》,舍弃白蛇视角,而选择了法海视角,再到广东粤剧院推出的这出《白蛇传·情》,试对文本重新解读,以“情”为主题,此种做法,无可指责,而且代表着新一代粤剧人
With the development of the times, people’s awareness of literary and artistic works is changing, and the reinterpretation of the classic template becomes inevitable. The other stove in the meaning of the literary text “White Snake” has long been known in the opera. The white snake of the “Leifeng Pagoda” Stay demon gas, Xu Xian is relatively selfish, to Peking opera Tian Han’s book, this white snake is more human nature, Xu Xian also a little more truth, and then last year Shanghai Theater Beijing Jing Kun co-starring “spring water crossing”, abandon the White Snake perspective, and chose the law Sea view, to Guangdong Cantonese Opera Theater launched this “White Snake Story,” try to re-read the text to “love ” as the theme, this approach, beyond reproach, but also on behalf of a new generation of Cantonese opera