让戏曲回归本体——越调《七擒孟获》与京剧《泸水彝山》之比较  

Let the Drama Return to Itself: A Comparison between the Yue Tone Opera Catch Meng Huo seven Times and the Beijing Opera Lu River and Yi Mountain

作　　者：吴彬[1] 

机构地区：[1]南京大学文学院,江苏南京210093

出　　处：《南京师范大学文学院学报》2010年第1期166-169,共4页Journal of School of Chinese Language and Culture Nanjing Normal University

摘　　要：越调《七擒孟获》和京剧《泸水彝山》是高牧坤先后导演的两部题材相同的"三国戏",在创作理念与舞台调度、脸谱化妆与情节设计、间离效果与当众孤独等方面,两剧存在着诸多联系。从《七擒孟获》到《泸水彝山》,创作者力求回归戏曲的本体,充分说明了中国戏曲艺术家对戏曲美学认识的深化,这是对自身的肯定和认同,显示出一种民族的自信。The Yue tone opera Catch Meng Huo seven Times and the Beijing opera Lu River and Yi Mountain are two dramas instructed by Gao Mukun in different times with the same subjects of ＂Three Kingdoms＂. The two have many links in respect of idea of creation, mise en scene, facial makeup and plot design, the effect of sowing discord and become lonely in front of the mass, etc. From Catch Meng Huo seven Times to Lu River and Yi Mountain, the creator strived to let the drama return to itself, demonstrating the deepening of recognition to drama aesthetics by Chinese drama artists, their self identification and confirming, and their national confidence.

关 键 词：《七擒孟获》 《泸水彝山》 

分 类 号：I207.309[文学—中国文学]