从“中国新歌剧”《孟姜女》的创作谈“戏曲交响化”的流变  

On"Symphonic Trends of Traditional Chinese Operasfrom the Creation of The Great Wall

作　　者：张晴滟[1] Zhang Qingyan

机构地区：[1]中央戏剧学院戏剧文学系

出　　处：《戏剧（中央戏剧学院学报）》2019年第6期125-139,共15页Drama:The Journal of the Central Academy of Drama

基　　金：2019年度国家社科基金艺术学重大项目“中国歌剧重大问题研究”(项目编号:19ZD15)的阶段性成果。

摘　　要：20世纪以降,中国的剧人和乐人分别从自己的专业出发,对旧剧的改良和新歌剧的创制采取了不同的路径。“新歌剧”的理念最早孕育于旅德音乐家王光祈“戏曲即歌剧”的歌剧观念中,也出现在旅日戏剧家欧阳予倩的“旧剧改良”中。三四十年代,阿龙·阿甫夏洛穆夫和沈知白等人最早将京剧表演和西洋伴奏结合于同一舞台,并创作了一批京剧实验作品,其中,《孟姜女》具有一定的代表性。它让人们看到了“中国新歌剧”的希望,也为六七十年代的样板戏的交响化进行了有益的探索。Since the 20th century,Chinese dramatists and musicians have taken different approaches to improve traditional opera and creat new opera from their own specialties.The concept of“New Opera”was first conceived in the concept of“Xiqu Is Opera”of Wang Guangqi,and also appeared in the movement of“Xiqu Reformation”of Ouyang Yuqian.In the 1930s and 1940s,Aaron Avshalomov and Shen Zhibai first combined Peking Opera performance and western orchestra accompaniment,and created a number of experimental works of Peking Opera,among which The Great Wall was a representative.It showed people the hope of“Chinese New Opera”,and also made a useful exploration for the Symphonization of Yangbanxi in the 1960s and 1970s.

关 键 词：中国新歌剧 《孟姜女》 戏曲交响化 《杜鹃山》 

分 类 号：J82[艺术—戏剧戏曲]