|
- 2015
秦腔流派与秦腔发展刍议
|
Abstract:
中国传统戏曲流派主要有三种形态:地域流派,团体流派,行当名家流派。对秦腔表演艺术流派进行分析,发现行当名家流派在秦腔发展中发挥着重大作用,却没有得到应有的肯定。通过肖若兰流派承传等案例分析,认为应充分重视行当名家流派的发掘与宣传,以此为契机,推动秦腔自身艺术性的发展。
There are three types of Chinese traditional Xiqu schools:regional school community school and famous professional school. From the analysis of the performance art school of Qinqiang, it is found that the famous professional school has played a great role in the development of Qinqiang and is not confirmed deservingly however. Based on the analysis of the cases of the heritage of the Xiao Ruolan School, and so on, it is held that we should pay full attention to the exploration and publicity of the famous professional schools, and use the present chance to promote the development of its own art of Qinqiang
[1] | [4]胡忌.戏史辩[C].北京:中国戏剧出版社,1999:59. |
[2] | [10]许祥麟,陆广训.大综合舞台艺术的奥秘:中国戏曲探胜[M].北京:高等教育出版社,1990:188-190. |
[3] | [11]董维贤.京剧流派[M].北京:文化艺术出版社,1981:1. |
[4] | [12]朱文相.戏曲表导演论集:朱文相自选[M].北京:中华书局, 2008:111. |
[5] | [13]陕西省艺术研究所.秦腔研究论著选[C].西安:陕西人民出版社,1983:171, 83. |
[6] | [16]焦文彬.长安戏曲[M].西安:西安出版社,2002:79.81. |
[7] | [5]卢前.卢前曲学四种[M].北京:中华书局,2006:84. |
[8] | [7]王苏生.齐如山与董每戡戏曲研究“舞台性视域”之比较[J].中华戏曲, 2011(2):139. |
[9] | [8]王艺睿.张庚戏曲表演中心论初探[J].中华戏曲,2011(2):34. |
[10] | [14]焦文彬.秦腔史稿[M].西安:陕西人民出版社, 1987:519,539-540. |
[11] | [15]陈光,王正强.立足甘肃说秦腔[J].当代戏剧,2004(3):34. |
[12] | [21]李培直,杨志烈.秦腔探幽:首届中国秦腔艺术节理论研讨会论文集[C].西安:陕西旅游出版社,2001:4-7. |
[13] | [25]杨文颖.秦腔肖(若兰)派传人李淑芳[J].中国戏剧,2011(8):19. |
[14] | [28]罗怀臻,卢昂.二度创作:中国剧协全国青年导演艺术家研修班文存?讲座卷[M].上海:上海人民出版社,2013:128. |
[15] | [33]李淑芳.萧派唱腔艺术的独特魅力[J].当代戏剧,2008(5):51. |
[16] | [1]姚淦铭,王燕编.王国维文集:第1卷[M].北京:中国文史出版社,1997:425. |
[17] | [2]陈多,叶长海.中国历代剧论选注[M].上海:上海古籍出版社,2010:416,71,145. |
[18] | [3]任半塘.教坊记笺订[M].北京:中华书局,2012:27. |
[19] | [6]陈多.中国戏曲美学[M].上海:上海百家出版社,2010:29,42,47,61. |
[20] | [9]秋文.京剧流派欣赏[M].上海:上海文艺出版社,1962:26. |
[21] | [17]呼东方,杨怡静.三代“戏痴”成肖派[J].新西部,2012(8):13. |
[22] | [18]杨志烈,何桑.中国秦腔史[M].西安:陕西旅游出版社,2003.289-291. |
[23] | [19]纪念易俗社成立七十周年办公室编辑组编.西安易俗社七十周年资料汇编(1912-1982).西安:1982. |
[24] | [20]鱼讯.陕西省戏剧志?省直卷[M].西安:三秦出版社,2000:671. |
[25] | [22]王小民,王炎.秦腔表导演艺术[M].香港:黄河文化出版社,1993:5. |
[26] | [23]许德宝.试论秦腔的风格流派问题[J].交响,1993(1):63. |
[27] | [24]焦垣生.中国戏曲文化论[M].西安:陕西人民出版社,1999:14. |
[28] | [26]齐如山.齐如山文存[M].沈阳:辽宁教育出版社,2009:24-27. |
[29] | [27]钟明善:谈艺录[M].西安:陕西旅游出版社,2001:278,279. |
[30] | [30]陈幼韩.戏曲表演美学[M].西安:太白文艺出版社,2010:61. |
[31] | [31]王正强.秦腔,将以怎样的“唱派”赢得未来[J].当代戏剧,2013(2):8,9. |
[32] | [32]王骥德.曲律注释[M].陈多,叶长海注释.上海:上海古籍出版社,2012:131. |
[33] | [29]刘宽忍.秦腔百年[M].西安:太白文艺出版社,2011:102-160. |
[34] | [34]周媛.李淑芳把秦腔唱到香港高校[N].西安晚报,2014-05-13(11) |
[35] | [35]焦垣生.李淑芳与秦腔[N].文化艺术报,2012-03-14(A7). |