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題名 | 從政治宣傳到戲劇妝點--1958-1976年京劇現代戲的詠嘆與歧出=From Propaganda to Dramatic Ornaments: Arias and Divertissements in Modern Beijing Operas in 1958-1976 |
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作者 | 蔡振家; | 書刊名 | 戲劇學刊 |
卷期 | 10 2009.07[民98.07] |
頁次 | 頁113-147 |
分類號 | 982.1 |
關鍵詞 | 戲曲音樂; 歌劇; 政治宣傳; 京劇樣板戲; 于會泳; Xiqu music; Opera; Propaganda; Model Beijing opera; Huei-yung Yu; |
語文 | 中文(Chinese) |
中文摘要 | 1958年以降的戲曲現代戲創作熱潮,隨著文化大革命的來臨而扭曲了發展的徑路。雖然京劇樣板戲充斥著畸形的主題,但在藝術上仍有一些劃時代的突破,本文所要探討的即為「詠嘆」與「歧出」的成就。戲曲與歌劇具有許多共同的特徵,其中歌劇的詠嘆調是一個封閉的獨唱段落,與戲曲的抒情唱段類似,但京劇樣板戲的抒情唱段還負載了前所未有的政治任務:次要英雄人物應藉由「敘當年之事」來凸顯階級矛盾、主要英雄人物則應以「抒情專場」來宣揚共產主義理想。戲曲的場景。歌劇的歧出與歌劇的divertissement類似,都是劇中暫停敘事、調劑耳目的場景。歌舞歧出除了為京劇樣板戲增添了不少娛樂性之外,有時還能夠將敵人「妖魔化」、將英雄崇拜「儀式化」。 1958-1976年的京劇現代戲有不少音樂方面的創新,本文將從政治脈絡與戲曲音樂史的角度來檢視這些創新。 |
英文摘要 | The Cultural Revolution (1966-1976) distorted the trend of creating and performing modern Xiqu since 1958. Despite the thematic monstrosity of "model Beijing operas", theirartistic achievement paved the way for Xiqu modernization in the past decades. The present study explores the arias and divertissements in modern Beijing operas between 1958 and 1976 in the light of propaganda techniques and cross-cultural comparison. An aria in Western and Chinese operas is a closed lyrical piece for solo voice. A number of arias in model Beijing operas were charged with political tasks: secondary heroes/heroines should highlight the class paradox through narrative arias; primary heroes/heroines should propagandize communism through a solo scene. Divertissements in Western and Chinese operas always intend for entertainment or diversion. In model Beijing operas, divertissements not only served as amusements, but sometimes demonized the enemies of communism and ritualized worship of communist heroes/heroines. Finally, I discuss music innovations of Beijing opera in 1958-1976 within the political context and from a historical perspective of Xiqu music. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。