二十世纪豫剧艺术改革发展研究

【作者】 陈国华；

【导师】 叶长海；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2006， 博士

【摘要】 豫剧,原名“河南梆子”,从乾隆年间到至今,已流传二百五十年。二十世纪是中国历史上变化剧烈、发展迅速的一个世纪,完成了由传统向现代的历史性转换。豫剧同样经历、体现着这种历史的变化。二十世纪在豫剧发展史上,无疑是居于主导的关键地位,本文尝试对二十世纪豫剧艺术改革发展的历史作初步梳理与概括,也是对豫剧现代化进程的一次回顾。本论文选取几个有代表意义,能够从中看出二十世纪豫剧艺术改革发展本质的重要现象进行专题研究。一是传统豫剧向现代豫剧的转型。二十世纪初至三十年代,一些知识分子开始进入河南梆子戏领域,樊粹庭和王镇南等对促进豫剧艺术的自身改革和完善起了较大的作用。这一转型标志着豫剧这一艺术品种日臻完善和成熟。二是建国后豫剧现代戏的演进。建国后用豫剧形式表现生活这个特点非常突出,现代戏的创作贯穿在建国后豫剧发展五十多年的始终。豫剧现代戏创作,每一个时期都有自己的代表剧目,五十年代后期的《朝阳沟》;八十年代的《倒霉大叔的婚事》;九十年代的《香魂女》等。豫剧现代戏从萌生、发展、直至趋于定型化审美机制的形成——是特定历史时期一种文化心态形成的豫剧掌握现实的方式。三是建国后豫剧传统剧的改编。建国后豫剧传统戏的整理,改编的剧目有许多都成为豫剧的主要演出剧目。上世纪50年代至60年代初,一些豫剧剧作家对传统戏的改编常常寻求历史与现实的呼应。上世纪八十年代后,传统戏的改编者尽量使之与当代戏曲观众的审美情趣和习惯相吻合。四是著名豫剧三大名旦艺术论。从上世纪二三十年代开始,女演员逐渐占据豫剧舞台中心,出现了一些著名的女演员。如常香玉、陈素真、崔兰田等,她们代表着各自的流派,都以自已的独特性丰富了豫剧表演艺术。五是豫韵台湾情五十年。台湾豫剧的发展历程是一个台湾化的进程。最后对有关当代豫剧生命力的问题进行了探索。如果说前面几个专题对豫剧作了多侧面的研究,那么此部分对前面几个专题的内在联系做一以贯之的较有系统、有整体感的统一把握,试图把各个方面联系起来,统一摄入作为整体的二十世纪豫剧文化观照之中,即对豫剧体系作连续性和统一性的研究。并对它的前景做了概略性的预测。对若干专题的考察,是为了揭示二十世纪豫剧改革发展的主流并展示其发展中的丰富性与多样性,从而共同勾勒出二十世纪豫剧的发展脉络,以显示各个时期豫剧发展达到的水平。在研究具体专题时注重在确定的历史背景中的逻辑内涵及其展开。几个专题各自独立又盘根错节,涵容着一种内在关联,突出二十世纪豫剧改革发展的特色,豫剧的近、现代历史变革走向以及特定的模式。通过对二十世纪豫剧艺术改革发展历程的概括与展望,以求获得对二十世纪豫剧发展“道路”的总体认识,使这只较古老的剧种在我们手中传承,这是本论文的核心内容和预期目的。更多还原

【Abstract】 Yu Opera, originally named He Nan Bang Zi, belongs to the Bang Zi Opera Family. It has existed for two hundred fifty years since Qianlong Period. Rooted in Henan, it is famous for exciting tones, easy-to-enjoy styles, humorous conversations, and close-to-life background. This article is focusing on Yu Opera’s arts during the 20th century. Yu Opera’s development history during the 20th century is composed of some important phenomena.This article describes Yu Opera’s history trend and special mode through some case studies on important phenomena.The first is Yu Opera’s reformation. Fan, Cuiting and Wang zhennan made great and various contributions to Yu Opera’s reform. They helped the self-reform and improvement of the art of Yu Opera. Yu Opera plays transitioned from teaching and learning by mouth and heart to the form of play script and performing art standardization. This transition means Yu Opera being more mature and complete.The second is the development of Yu Opera’s modern plays in the new China. In early 1960’s, Yu Opera’s modern play“Chao Yang Gou”;In 1980’s, the modern play“The Marriage of Uncle Unlucky”;The social transitions in the new period expanded life horizon and brought corresponding changes to the creation of modern Yu Opera plays. Being different from traditional mode of Yu Opera,“Xiang Hun Lady”.They switched to the exploration underlying psychology.The third is the edition on traditional Yu Opera plays in the new China. During 1950’s and early 1960’s, some Yu Opera play writers themselves were active builders of the new period. The editions on traditional Yu Opera often seek the echo from history and reality. In late 1980’s, there were some new performances on traditional plays. Editors tried to find a new cutting point to meet the customs and appreciation of modern play audience.The fourth is actress centering in the stage. This article explores the art characteristics of three famous Yu Opera actresses, Xiangyu Chang, Suzhen Chen, and Lantian Cui. They all represented their own genre, and enriched Yu Opera’s performing arts with their uniqueness.The fifth is YuOpera’s fifty-year development in Taiwan. To some extent, current Yu Opera in Taiwan exists for super star Hailing Wang.The above important phenomena picked up by the article have internal links, which standardize and create Yu Opera’s general trend and unique style in the 20th century. From these cutting points that represent Yu Opera’s rich contents and historical uniqueness during different time periods, we seek the internal logical links among them, in order to get general ideas about Yu Opera’s development in the 20th century, and to understand the art of Yu Opera’s development characteristics, and editors and directors’characteristics vertically (the development trend in Henan Province) and horizontally (development comparisons between Taiwan and Mainland).By analyzing the art of Yu Opera’s successes and failures from multiple angles, we hope to get some clues on better improving and guiding current ongoing Yu Opera’s reform, understanding the relationships between Yu Opera and its audience, Zhong Yuan literature psychology, and educations, and pass this ancient opera through our hands.更多还原