论文部分内容阅读
未来的中国戏曲是怎样的一种模式,将由现在商品经济发展程度如何来解答。商品经济与戏曲改革的关系,曾经是我们忌讳的论题,用商品价值衡量戏曲,至今还停留在素朴阶段。 商品经济对中国戏曲的启蒙,在戏曲的雏形阶段,基本由宫廷掌握。《山海经》说:“夏后开上三嫔于天,得《九辩》与《九歌》以下”。《九辩》、《九歌》是夏开国君主启从天帝那里带到人间的天上之乐。“大乐之野,夏后舞《九代》”。歌舞活动要到广袤的原野去举行,其规模之大,非宫廷组织莫属。《汉书·武帝纪》说:元封“三年春,作角抵戏,三百里内皆来观”。元封三年的演出是汉武帝招待外宾,“三百里内皆来观”,可见汉朝的宫廷演出场面多么宏伟。《隋书·音乐志》载,“于端门外建国门内,绵亘八里,列为戏场”。从望至晦半个月的时间内,三万名演员登台演出,推想隋朝皇帝号令演出的奢靡。唐朝开始设大乐署,有梨园、教坊,宫廷乐舞艺人集中在长安有两万人。
The future of Chinese opera is what kind of a model will be how to answer the current degree of commodity economy development. The relationship between the commodity economy and the drama reform was once the subject of our taboo. Using the value of commodities as a measure of drama, we still remain in a naive stage. The enlightenment of commodity economy on Chinese opera is basically controlled by the court during the embryonic stage of opera. “Shan Hai Jing” said: “After the summer opened three examples in the sky, have” nine debates “and” nine songs “below.” “Nine Debates” and “Nine Songs” are the heavenly music brought by Xia Kai-kuo monarch from the Emperor to the world. “Wild music, summer dance” Nine generations. “ Song and dance activities to the vast wilderness to be held, its size, none other than the court. ”Han Wu Ji“ said: Yuan Feng ”Three years of spring, play a role in the theater, three hundred years are to view.“ Yuan Feng three years of performance is the Han Wudi hospitality foreign guests, ”three hundred years are to view“, showing how magnificent court performance scenes in the Han Dynasty. ”Sui Shu music magazine“ contains, ”in the door outside the door of the country, Spread over Bali, as a theater." Half a month from hope to the dark, 30,000 actors performed on stage, presumably the Sui Dynasty emperor ordered extravagant performances. Tang Dynasty began to set up a large music department, there are pear garden, Square, court music and dance entertainer concentrated in Changan has 20,000 people.