“路头戏”赋子运用的程式研究——以越剧为例  

Formula Study on Application of Fuzi in Lutou Plays——On Yue Opera

作　　者：沈勇[1] 谢青[1] 

机构地区：[1]浙江艺术职业学院创作中心,杭州310053

出　　处：《文化艺术研究》2015年第1期93-99,共7页Studies in Culture and Art

基　　金：浙江省哲学社会科学规划"学科共建"课题"浙江民间戏班的草根基础:以台州为例"(编号:13XKGJ107YB)研究成果之一

摘　　要：作为支撑"路头戏"表演的主要"套路"——赋子,一方面通过长期的积累传承和与观众的不断互动,已逐步达成了观演双方基于"既定标准"的共识,具有相对的稳定性;另一方面,作为口头文化的赋子,变化是贯穿其存在发展所不容忽视的一个内在动力。赋子产生于即兴表演的过程,也即兴套用在故事结构当中,更在即兴创作中不断发展。其可变与灵活运用的因素如同七个音符般可以幻化出美妙的音乐旋律,具有无穷的可能性,而这本身也是作为程式的赋子的根本属性。Fuzi, as the set patterns to support performance of Lutou Plays, is relatively stable due to the fact that the shared understanding of viewers and performers has been reached out of constant in- teraction and long - term inheritance. While as a type of oral culture, Fuzi＇s built - in power is vari- ation. It＇s born in improvisation and impromptu employed in story structures. It keeps evolution in improvised creation and just as seven musical notes made into sweet melodies, have infinite possibil- ities, which makes the basic attribute of Fuzi.

关 键 词：赋子 路头戏 程式 

分 类 号：J825[艺术—戏剧戏曲]