摘要
京剧流入云南,经历了从众多班社市场竞争到形成以关肃霜为中心的格局,体现了政权的更迭引起的演出制度、戏剧观念、艺术生存环境一系列的急遽变化。云南京剧前后整体呈现出两种不同的格局。中华人民共和国成立前京剧在云南开辟了市场,奠定了演员阵容,拥有了广泛的观众;而中华人民共和国成立后剧院的重组向外展示了云南京剧强大的实力,创造了时代的辉煌。但人为铲除商业化市场,以导演制全面代替提纲幕表制,以政治标准编演新戏取代大量传统剧目,无形中破坏了京剧生存的根基和环境,为后来的不景气埋下了隐患。
After Peking Opera was introduced to Yunnan, it has experienced competition with many clubs in the market and then formed a pattern with Guan Sushuang as the center, which has reflected a series of rapid changes of performance systems, drama concepts, and artistic living condition caused by the change of regimes. The Peking Opera in Yunnan presents two different patterns. Before the foundation of People’s Republic of China, Peking Opera exploited market, laid the cast and had a great number of audiences in Yunnan;on the other hand, the reorganization of Yunnan Peking Opera Theater projected its strong performing ability and created a brilliant ear after the foundation of PRC. However, in order to eradicate the commercial market, the outline system of Peking Opera has been replaced totally by director system and a lot of traditional repertoies have been replaced by new plays which are adapted according to political standards. The above changes invisibly destroyed the foundation and condition of Peking Opera in Yunnan, which brought hidden troubles to the later decline.
作者
张俊卿
Zhang Junqing(Drama College of Yunnan Arts University,Kunming,Yunnan,650504.)
出处
《民族艺术研究》
CSSCI
2019年第3期79-87,共9页
Ethnic Art Studies
关键词
云南京剧
民间班社
商业化竞争
戏改运动
Yunnan Peking Opera
folk clubs
commercial competition
reforming movement of Peking Opera
