关肃霜与云南京剧艺术风格的形成关系初探  

Guan Sushuang and the Forming of Artistic Style of Peking Opera in Yunnan

作　　者：何利飞 张俊卿 He Lifei;Zhang Junqing(School of Theatre,Yunnan Arts University,Kunming,Yunnan,650504)

机构地区：[1]云南艺术学院戏剧学院,云南昆明650504

出　　处：《民族艺术研究》2021年第5期110-117,共8页Ethnic Art Studies

摘　　要：20世纪五六十年代,关肃霜扎根云南以后,以她为代表的云南京剧,在运用京剧艺术形式反映云南少数民族现实生活以及塑造少数民族人物形象方面大胆创新,创作演出了一系列云南少数民族题材京剧剧目,形成了云南京剧区别于京派、海派独具滇韵的艺术风格;关肃霜因成功塑造剧中椰枝、黛诺等各具民族特色、性格鲜活的云南少数民族妇女形像,形成了鲜明的表演艺术风格。当时关肃霜和云南京剧也因此独树一帜的艺术风格让全国观众耳目一新,跻身于全国京剧强手之林。目前,在云南京剧整体阵容的构建和关派表演艺术传承方面,仍然存在制约其后续发展的瓶颈问题。During the 1950 s and 1960 s,when Guan Sushuang came to Yunnan,the Yunnan Peking opera,represented by her,explored and experimented on the Peking opera arts to reflect on realistic life of Yunnan ethnic minority as well as form the figures of Yunnan ethnic minority.They tried and accumulated rich experience.Guan Sushuang and Yunnan Peking opera draw the national attention because of its unique artistic style,so that the Guan Sushuang school of performing arts and Yunnan Peking Opera Troupe were of unique artistic style among all the Peking opera troupes at that time.Nowadays,however,from the comprehensive development and the whole talent cultivation of the Yunnan Peking opera art,bottle-neck problems are seen:diverse schools of artistic development are not formed,which may influence future development.

关 键 词：云南京剧 关肃霜 表演艺术 艺术风格 民族题材 发展瓶颈问题 

分 类 号：J821.2[艺术—戏剧戏曲]