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在清代,戏曲演艺在《水浒传》的传播中占有着很大的分量,从传播学角度看,剧本和唱词的改编是传播内容中的核心部分,因为在传播中,传播的内容是非常多样和丰富的,然而剧本唱词究竟要改编成什么内容,不是完全由《水浒传》小说中的内容决定的,而是要受到当时的社会环境、文化、政治和经济等诸方面因素的制约和影响。随着水浒戏剧目的不断丰富,武松、宋江、三个“淫妇”、鲁智深、李逵和燕青等人的戏也随之增加,但是武松、宋江、三个“淫妇”仍然是舞台上的主要的角色;在曲艺中,武松、宋江、三个“淫妇”也是主要的人物。例如《宋江杀惜》,在川剧、徽剧、汉剧中演出,湘剧和秦腔则取名为《宋江杀楼》;《武松打虎》在昆腔、高腔、川剧、滇剧、秦腔等剧种中均有此剧目,其他的地方戏中还有《走领子》《武十回》;《金莲戏叔》在徽剧、汉剧、湘剧、粤剧、河北梆子中都有此剧。
In Qing dynasty, opera performance occupied a great part in the spread of Water Margin. From the perspective of communication, the adaptation of scripts and libretto was the core part of the content because the contents of communication were very different Diverse and rich. However, it is not entirely determined by the content in the novel of the Marsh, but by the social environment, culture, politics and economy of the time. influences. As the purpose of the Water Margin drama continued to increase, the operas of Wu Song and Song Jiang and the three “adulteresses”, Lu Zhishen, Li Xun and Yan Qing also increased. However, Wu Song and Song Jiang, three “adulteresses” still Is the main role of the stage; in the folk art, Wu Song, Song Jiang, three “adulteress ” is also the main figure. For example, “Song Jiang Zu Xi,” performed in Sichuan Opera, Hui Opera and Han Opera, while Xiang Opera and Qin Chamber were named as “Song River to kill buildings.” “Wu Song Da Hu” was featured in such operas as Kunqu Opera, Gaoqu Opera, Sichuan Opera, In this drama, there are other local operas such as “Take the Lead” and “Wu Shi Hui”; “Jinlian Xiushu” has this play in the Hui, Han, Xiang, Cantonese, and Hebei princes.