摘要
流传于陕西安康的汉调二黄剧种中迄今还保留着一出酬神戏《大赐福》,全部用昆曲演唱。本文将该剧与昆曲及台湾北管戏等剧种进行比较,从中探寻汉调二黄《大赐福》的艺术特色及演变轨迹,进而揭示其蕴涵的戏曲文化意义。根据此剧在剧本、音乐、表演等各个方面的比较,可以明显地看出它们之间具有的承袭关系。而在陕西地区的戏曲剧种中,目前也仅发现汉调二黄剧种的此剧和昆曲及流播距离相对遥远的台湾北管戏之间有较为密切的关系。因此,汉调二黄剧种很值得进一步深入研究。
Spread in Ankang,Shaanxi Handiao Erhuang forms of drama in religious dramas so far,still include a Big Blessing,（or Dacifu）all with the Kunqu Opera Concert.This will play and Kunqu Opera and other opera in Taiwan Pei-kuan Opera comparison,from which to explore the Handiao Erhuang the DaCifu,a drama of its own artistic features and the evolution of the trajectory,and then reveal the cultural significance of its implication in the opera.And in the Shaanxi region operas,the tone is also found that only two Chinese opera of the play and Kunqu Opera and streaming from the very far north of Taiwan Pei-kuan Opera with more closely related,so Chinese opera is worth Handiao Erhuang adjusted further research.
出处
《安康学院学报》
2010年第6期5-7,共3页
Journal of Ankang University
关键词
汉调二黄
大赐福
酬神戏
昆曲
跳加官
Handiao Erhuang
Dacifu
religious dramas
Kunqu Opera
Tiao Jiaguan
