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京剧艺术欣赏:英文作者:潘侠风,分类:文学 人气: 装帧:平装 / 32开 / 252页 / 0字 ISBN(10位/13位):7800050912 出版:新世界出版社于2008-11-24出版 定价:¥36元 标签(Tags): 收藏人数： |
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| CONTENTS ORIGINS OF PEKING OPERA Arrival ofthe First Anhui Opera Troupe in Beijing in 1790 Appearance of Hubei Opera in 1828 Appearance of Cheng Changgeng and Yu Sansheng on the Beijing Stage Heyday of Peking Opera Various Schools ofPeking Opera First " National Drama School'' in China Various Names ofPeking Opera Intemational Tours in Its Early Period SOME UNIQUE FEATURES Symbolic Gestures Strict Adherence to Convention Fundamentals of Acrobatic and Combat Skills on Stage Symbolism in Dance Pattems Exaggeration in Presentation ORIGIN AND DEVELOPMENT OF ROLES Elaborate Division ofRoles BASIC SKILLS FOR PEKING OPERA ACTORS Waist and Leg Traming Somersaults Combat Performance CONVENTIONAL PATTERNS OF PEKING OPERA PERFORMANCES Singing Dialogue Acting Combat SomeEsaultmg PEKING OPERA MUSIC Ewlution of the Stage Set-up Guide to Stage Accompaniment Conventional Types of Music Tunes Sound Effects FACIAL PAINTING Mocai and Goudian Sequences Origin of Facial Design Development of Facial Design Opera Masks Facial Decorations of Sheng and Dan Actors Fadal Designs for Ten Yamas Facial Designs for Four Guardian Warriors and Generals Heng and Ha Facial Designs for Demons and Monsters Dilferent Facial Designs for Monkey King Significance ot' Colors Farial Design Pattems COSTUMES AND STAGE PROPERTIES Wardrobe Costumes Headdrcsses Props ACTORS OF PEKING OPERA PROFESSIONAL TROUPES Six-Generation Family Five-Generation Family Four-Generation Families Three-Generation Families ANECDOTES OF PEKING OPERA PROFESSIONAL TROUPES Traditional Names for Theaters Nomenclature of Operatic Troupes Playbills and Signboards Four-Day Cycle Different Types ofPrograms CONVENTIONAL PRACTICES IN PEKING OPERA PROFESSIONAL TROUPES Seaiing-up of the Stage, Tnmk and Carpet Grand Exhibition on the Stage Dance of Immortal Officers, Dance of God of Promotion and Dance of God of Wealth Mythological Plays and Festival Plays Taboos and Superstitions Ceremonies and Meetings TERMINOLOGIES ON PEKING OPERA INDEX |
| 内容摘要: |
| ORIGINS OF PEKING OPERA Peking (now Beijing) was fonnerly the capital of five feu- dal dynasties - the Liao, Jin, Yuan, Ming and Qing and thrived since the 9th century as a political and cultural center. Local operas from north and south of the Yangtze River mingled in the capital and developed into a diversified northern-based opera. Influenced by various operatic forms zaju, yuanben and gongdiao after Beijing was made the capital of the Yuan Dyn- asty, beiqu emerged as a genre simple in structure yet rich in emotion and literary style. During the first years of the Ming Dynasty (1368-1644), chuanqi (nanqu) came into being, and in the middle of the dynasty, both yiyangqiang and kunqu began to be performed in Beijing. Local Chinese operas blossomed in the first years of the Qing Dynasty (1644-1911). During the reigns of emperors Kangxi and Qianlong, four major local operas became quite popular: nankun (kunshanqiang in the south), which was formed in the last period of the Yuan Dynasty; beiyi (yiyangqiang in the north), which was formed in the last years of the Yuan Dynasty; dongliu (liuziqiang in the east), which originated in Shandong Province; and xibang (bangziqiang in the west), which originated in Shaanxi Province at the end of the Ming and the beginning ofthe Qing. ARRIVAL OF THE FIRST ANHUI OPERA TROUPE IN BEIJING IN 1790 Emperor Qianlong of the Qing Dynasty, an avid opera fan, became enamored of southern operas during his inspec- tion tours in south China. On Qianlong's 80th birthday in 1790, the Anqing Anhui Opera Troupe (one of the Chinese local operas originating in the Anqing area of Anhui 'Prov- ince), came to Beijing under the leadership of Gao Langting, a renowned dan-player with the Sanqing Troupe. Before long, three other well-known troupes (Sixi, Chuntai and Hechun) followed suit. This was the first time that Anhui Opera was performed on the stage in Beijing, and after the birthday cele- brations, the four troupes remained in the capital and began to perform for ordinary audiences. Each troupe had its own specialties. As a result, Sanqing's scripts, Sixi's melody, Chuntai's boy actors and Hechun's acrobatic skill became common catchwords among their fans. In contrast to other tunes popular in certain areas, kunshanqiang in the south, yiyangqiang in the north, liuziqiang in the east and bangziqiang in the west, the melodies of Anhui Opera had their own charm. With the erhuang given promi- nence, kunqiang, huidiao, chuiqiang and sipingdiao were charac- teristic tunes. Its repertoire was known not only for the varie- ty of themes, but also for its moving plots. The language was also very popular, and easy for common audiences to un- derstand. All the performances - either on civilian or military themes-produced by the Anhui Opera troupes were thus warmly received. It's no wonder that Anhui Opera enjoyed higher social status than any other local operas in Beijing. But instead of becoming supercilious and conservative, the performers of Anhui Opera kept on developing their art by absorbing the merits of their counterparts. As a result, almost all of the large theaters in Beijing featured Anhui Opera troupes. By the first year of the reign of the Qing Emperor Daoguang, Anhui Opera troupes had taken the place of those ofKunqu Opera, which had till then been the leading form ofopera in Beijing as well as in other main cities ofChi- na. Kunqu performances eventually became a rare sight even in Beijing. |
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