“薛马争雄”再审视——传统粤剧的现代转换  

Reexamination of the“competition between XUE&MA for excellence”——The modern transformation of traditional Cantonese opera

作　　者：徐燕琳 XU Yanlin(College of Humanities and Law,South China Agricultural University,Guangzhou 510642,China)

机构地区：[1]华南农业大学人文与法学学院,广东广州510642

出　　处：《佛山科学技术学院学报（社会科学版）》2023年第5期14-18,共5页Journal of Foshan University(Social Science Edition)

基　　金：广州市哲学社会科学规划项目(2021GZYB28)。

摘　　要：20世纪20、30年代,粤剧艺术家薛觉先、马师曾积极进行粤剧改革,创新发展粤剧,带动了粤剧的繁荣,在粤剧史上被称为“薛马争雄”。这是粤剧艺术由传统向现代转换的转折点,是粤剧艺术在历史困境下的突围,也是新文化运动影响下艺人自发进行的对传统戏曲的改良。薛觉先、马师曾在理论上、实践上引领潮流,立足粤剧传统“,以我为主”,同时大胆吸收其他剧种和艺术的精华,确立了粤剧“保持传统,求新求变”的特色,推动了粤剧艺术的发展。In the 1920s and 1930s,two famous Cantonese opera artists,XUE Juexian and MA Shizeng,carried out the reform of Cantonese opera actively.They innovatively developed Cantonese opera and led it to the prosperity.In the history of Cantonese opera,the period were known as“competition between XUE&MA for excellence”.It was the turning point of the transformation of Cantonese opera art from traditional to modern,the breakthrough of Cantonese opera in the historical predicament,and the spontaneous improvement of traditional opera by artists under the influence of the new culture movement.XUE Juexian and MA Shizeng led the trend in theory and practice,set a foothold on Cantonese opera tradition with“focusing on me”,absorbed the essence of other operas and arts boldly,established the characteristics of Cantonese opera in“keeping tradition,seeking innovation,and changing with the time”,and pushed the art of Cantonese opera into the modern stage.

关 键 词：粤剧史 薛马争雄 薛觉先 马师曾 戏曲理论 现代戏曲 

分 类 号：I236.65[文学—中国文学]