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粤剧,称之岭南明珠,这是当之无愧的。它流传时间长,地域广,影响深远。全世界,几乎凡有粤语华人的地方都有粤剧。粤剧有薛觉先、马师曾、白驹荣、靓少佳、红线女、罗品超、陈笑风、文觉非、罗家宝、卢启光、林小群等一大批国内外知名的艺术家,形成了各具风格的表演特点和唱腔流派,保留了一大批群众喜闻乐见的传统剧目和曲目,这是我国林林总总的戏曲园地里不可多得的一支奇葩。然而,粤剧发展到今天,非但没有超越历史上任何一个艺术高峰,反而陷入了一个难以摆脱的低谷。如今,高水平的粤剧演出已鲜为人见,连省团最大阵容的演出也观众无几。笔者曾到某大学文学社去讲学,提到戏剧,同学们笑日:“怎么?让我们去学笃笃撑?学咪梳喱咪哆,家公讨新抱?”言语之中不乏轻贬之意味。后来我说,你们指的唱大戏只是戏剧中戏曲的一类,戏剧还包括歌剧、话剧等等。这时,同学们才静下来,打开笔记本。我于是想,唱大戏又怎么啦?笃笃撑又怎么啦?家公讨新“抱”又怎么啦?心中不禁产生一派悲凉。是啊,年青一代不接受我们的粤剧,那么,现时已少得可怜的中老年一代粤剧观众一旦作古,粤剧便没有观众了。一个剧种没有了观众,这剧种也就自然消亡了。因此,抢救粤剧,已不是危言耸听的呼号,更不是杞人忧天。
Cantonese opera, called Lingnan Pearl, this is a well-deserved. It spread for a long time, wide area, far-reaching impact. All over the world, Cantonese opera is available in almost every Cantonese-speaking Chinese. A large number of well-known domestic and foreign artists such as Xue Juexian, Ma Shi Zeng, Bai Ju Rong, Liang Shaojia, Red Line Female, Luo Pinchao, Chen Xiaofeng, Wen Juefei, Luo Jiabao, Lu Qiguang and Lin Xiaoqun have formed various performances And singing genre, retaining a large number of popular loved by the masses of the traditional repertoire and track, which is a rare opera in our country lottery wonderful work. However, the development of Cantonese opera today has not only failed to surpass any one peak in history, but has plunged into a trough that is hard to get rid of. Nowadays, the high performance of Cantonese Opera performances is hardly seen. Even the largest squad of provincial-level tournaments is performing well. I went to a university literature club to lectures, referred to the drama, students laugh day: “How? Let us go to school Tuk-tuk support? Lightly derogatory means. Later, I said, you are singing theatrical drama is only one type of drama, the drama also includes opera, drama and so on. At this time, students just calm down and open the notebook. I think so, how to sing the drama? Tuk-ting and what happened? Home discuss the new ”hug" and what happened? Heart can not help but produce a school of sadness. Yes, the younger generation will not accept our Cantonese opera. So, once the poor Cantonese opera audience of the elder generation is now living, there will be no audience in Cantonese opera. A drama without the audience, the drama will naturally die. Therefore, the rescue of Cantonese opera is no longer an alarmist sign of calligrapher, nor is it a real concern.