頁籤選單縮合
題 名 | 由關目、套數、腳色論《浣紗記》排場=A Discussion on Pai Chang of Wan Sha Ji from the Perspective of Kuan Mu, Tao Shu and Role |
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作 者 | 廖藤葉; | 書刊名 | 國立臺中技術學院通識教育學報 |
卷 期 | 1 2007.12[民96.12] |
頁 次 | 頁45+47-68 |
分類號 | 822.5 |
關鍵詞 | 浣紗記; 排場; 關目; 套數; 腳色; Wang Sha Ji; Landering the Silken Yarn; Pai Chang; Guan Mu; Tao Shu; Jiao Se; |
語 文 | 中文(Chinese) |
中文摘要 | 自許之衡言及戲曲排場重要性之後,迭經王季烈、張敬、曾師永義等人的努力,建構了排場理論。本文以排場理論五項要素中的三項:關目、套數與腳色為角度,分析《浣紗記》的排場。內容有(一)由關目角度論述,《浣》劇講究演出情調氣氛,熱鬧與冷清的相互搭配。(二)就套數角度而言,此劇最成功無疑在此,因此歌場傳唱許多齣目。(三)腳色演出的配搭,大致上注意穿插,使各行腳色皆能發揮所長。但不容否認,有部分相連幾齣,某些腳色無法達到均勞逸,未注意改扮的時間問題。以排場理論分析整體而言,前人評定明人戲曲作品以《浣》排場最佳,這個評價是公允的。 |
英文摘要 | Ever since the illustration of importance of pai chang (music’s model of formal performance) for xiqu (music drama) by Xu Zhiheng, theories of pai chang have been built under the concerted efforts from Wang Jilie, Zhang Jing and Zeng Yongyi. From the perspective of guan mu (plot of a play or story that is extended in meaning as rendition), tao shu (set number) and jiao se (role), the three elements among the five elements prerequisite to pai chang theory, this essay aims to analyze pai chang of Wan Sha Ji (Laundering the Silken Yarn). The contents consist of (1) the exposition about the collocation of emotional appeal and ambience, bustling scene and cold and cheerless scene presented in Wan Shan Ji from the perspective of guan mu, (2) the successful arrangement of tao shu brings out a plenty of numerary adjuncts in terms of the perspective of tao shu and (3) the collocation on the performance of roles centering on the interlude leads each role to bring his/her own specialties into full play. What comes undeniably is that it results in the failure to achieve the even allocation of performance by certain roles in some parts of the connected adjuncts, as the issue of time for disguise is overlooked. In the point of analysis of pai chang theory, it is a just and fair evaluation when Wan Sha Ji is rated as having enjoyed the best pai chang based on the predecessors’ criticisms. |
本系統中英文摘要資訊取自各篇刊載內容。