论文部分内容阅读
“文革”以后,京剧基本上进入了“后大师时代”。在新时期,京剧艰难前行,不能说没有新的大师,其认同度虽不能同历史上的大师们相比,也不能湮没。我觉得,至少有两位可以考虑。一是河北裴艳玲,一是上海尚长荣。前者以传统艺术的深厚积累和出色发挥取胜,后者可以称之为新时期“现代京剧”的开启者。当大师,必须有三个基本条件:(一)有若干独创性作品,为京剧这棵生命之树增添新的果实,丰富了京剧艺术的积累:(二)其成功塑造的艺术形象所体现出来的鲜明风格,能有序地传承下去,继续活在今后的舞
After the “Cultural Revolution”, Peking Opera basically entered the “post-Masters era.” In the new era, Peking Opera touches hard and can not say that there is no new master. Although its popularity can not be compared with that of masters in history, it can not be obliterated. I think at least two can be considered. First, Hebei Pei Yanling, Shanghai Shang Changrong one. The former win with the profound accumulation of traditional arts and excellent play, the latter can be called the opener of “modern Beijing Opera” in the new era. When master, there are three basic conditions that must be met: (1) There are several original works that add new fruits to the tree of life of Peking opera and enrich the accumulation of Peking Opera: (2) The artistic image of the successful creation embodies Distinct style, can be carried on in an orderly manner, continue to live in the future dance