探索现代题材的“现代”表达--从三部戏看新时期昆剧现代戏的求新路径  

Probe into the“Modern”Expression of Modern Themes--On New Path of Modern Kunqu Opera in the New Era from Three Plays

作　　者：周飞[1] ZHOU Fei

机构地区：[1]江苏省文化艺术研究院,南京210005

出　　处：《浙江艺术职业学院学报》2021年第2期19-23,共5页Journal of Zhejiang Vocational Academy of Art

基　　金：2019年度国家社科基金艺术学重大项目“新中国成立70周年中国戏曲史(江苏卷)”阶段性成果。(批准号:19ZD05)。

摘　　要：昆剧现代戏上演数量较少,成功的剧目也不多。新世纪以来,有三部现代戏值得一提:2002年上海昆剧院的《伤逝》、2011年北方昆剧剧院的《陶然情》和2019年江苏省昆剧院的《梅兰芳·当年梅郎》。从三部剧目可圈可点之处谈起,并从中寻找昆剧发展的启示:昆剧需要用有真功夫、能直抵心灵的剧目赢得年轻观众。可以在三方面努力:一要抱诚守真,扎根传统;二要怀古观今,直面当下;三要兼程并进,深度合作。The number of modern Kunqu operas is small,and there are not many successful repertoires.Since the beginning of the new century,there have been three modern plays worth mentioning:Sorrow for the Death by the Shanghai Kunqu Opera Theater in 2002,Tao Ranqing by the Northern Kunqu Opera Theater in 2011,and Mei Lanfang:Young Meilang by the Jiangsu Kunqu Opera Theater in 2019.The article starts from the remarkable points of the three repertoires,and seeks inspiration from the development of Kunqu Opera:Kunqu Opera needs to win young audiences with repertoires that have real skills and can reach the soul.We can work hard in three areas:firstly,we must be honest and truthful and rooted in tradition;secondly,we must look back on the past and face the present;thirdly,we must go hand in hand and deepen cooperation.

关 键 词：昆剧现代戏 《伤逝》 《陶然情》 《梅兰芳·当年梅郎》 

分 类 号：J802[艺术—戏剧戏曲]