摘要
洪昇《长生殿》问世后,南北昆班争相献演全本。乾、嘉以后,折子戏盛行,未再见有全演的记载或集折串演。近、现代以来,"全本"的概念有所演变。20世纪后期,涌现了《长生殿》的各种各样的整理本和改编本。21世纪,集折串连的单本、上下二本、三本连台、四本连台等本子,各有千秋。整理旧本、改编新排,或从单本、二本发展为多本连台,数百年来,《长生殿》演出逐渐走上了多元化道路。集折串演是常用的格范,各本关键在于处理主线与副线的结构。
When Hong Sheng's The Place of Eternal Life came out, Kunqu Opera troupes in southern and northern parts of China were enthusiastic to perform the play in its full length. After the reigns of Emperor Qianlong and Emperor Jiaqing of the Qing Dynasty, selected scenes of the play prevailed, yet records of the performance of the full-length play or sets of selected scenes had not been seen. Since modern times, the concept of "full-length play" has evolved. in the late 20^(th) century,all kinds of collated or adapted versions of The Place of Eternal Life emerged in large numbers.In the 21^(st) century, on-stage performances of singular scenes or two, three and four consecutive selected scenes have their own merits. Older versions of the play are collated, adapted or renovated, and singular selected scenes and two consecutive scenes are gradually replaced by multiple scenes in terms of performance. For centuries, the performance of The Place of Eternal Life has been characterized by its diversification. As a common standard, the key of performances of sets of selected scenes lies in how to deal with the structure between the plotline and its sub lines.
出处
《南京艺术学院学报（音乐与表演版）》
2018年第1期103-111,133,共10页
Journal of Nanjing Arts Institute:Music & Performance
关键词
《长生殿》
全本
家班
集折串演
周传瑛
The Place of Eternal Life
full-length play
family-owned theatrical troupe
sets of selected scenes
Zhou Chuanying
