现代经典——淮剧现代戏《祥林嫂》“天问”唱腔的个案分析

发布时间：2018-06-14 09:19

本文选题：戏曲艺术 + 淮剧现代戏　；参考：《艺术百家》2017年01期

【摘要】：“天问”唱腔是淮剧现代戏《祥林嫂》中的核心唱段,它处于全剧结尾之处,是祥林嫂被赶出鲁四老爷家,满怀着凄凉、绝望、疑虑、悲怆,倒毙于冰雪飞舞的鲁镇街头之前的大段内心独白。这段唱腔可谓是词好(编剧袁连成)、曲好(作曲赵震方)、唱好(主演陈澄)的“三好”统一,显示了优秀作品的典型特征。唱词方面,袁连成的“诗意白话”贴近剧中人物性格和气质,他熟练地运用了“婆娑韵”和“图书韵”,并富于夸饰性表达,整段唱词在内容层次和情感逻辑上更是处理得极为清晰、合理。“天问”唱腔的创作,用赵振方自己的话来说是“淘尽了传统精华”。他选用了充满魅力的“淮调”,运用锣鼓来伴奏,唱腔在结构上是非常出色的:它由静入动,由慢至快,由整入散,层层递进,契合着人物情感表达的合理逻辑;在形式上,它变化丰富、新颖灵动,又完整严谨,所以听来生动流畅,饱满酣畅。演唱方面,陈澄的声音显得统一而又富于变化,而对音色、力度、气息、咬字的松紧、收放的分寸,小腔儿的运用,都处理得极其细致丰富,且表现戏剧情感的张力极大,既追求唱腔的动听,更注重情感的表达,显示了她对驾驭大段戏曲咏叹所拥有的扎实功力。
[Abstract]:The singing of "Tianwen" is the core of Huai Opera's Modern Drama "Xianglin Sister", which is at the end of the whole play. It is that Xianglin Sister is driven out of the house of the fourth Master of Lu, full of desolation, despair, doubt, and pathos. Fell in the snow dancing before the streets of Luzhen long section of the inner monologue. This piece of singing can be described as a good word (scriptwriter Yuan Liancheng, qu Hao (composed by Zhao Zhenfangwei), singing well (leading Chen Cheng) of the "three good" unity, showing the typical characteristics of excellent works. In the aspect of singing, Yuan Liancheng's poetic vernacular is close to the character and temperament of the characters in the play. He skillfully uses "whirling rhyme" and "book rhyme", and is rich in ostentatious expression. In terms of content and emotional logic, the whole verse is very clear and reasonable. In Zhao Zhenfang's own words, the singing of "Tianwen" is "erasing the essence of tradition." He chose the charming "Huai tune", accompanied by gongs and drums. The singing was very good in structure: it moved from stillness to speed, from slow to fast, from integral to scattered, layers of progressive, consistent with the logical logic of the character's emotional expression; in form, It is rich in variety, novel, smart, and complete and rigorous, so sound vivid and smooth, full of sound. In terms of singing, Chen Cheng's voice was unified and varied, and the tone, intensity, breath, fastness of the pronunciation, the proportion of the words taken away and the use of the small cavity were all handled with great detail and richness, and the tension of expressing the drama's emotion was great. Both the pursuit of singing, more attention to emotional expression, shows that she has a solid ability to master a large part of the opera chant.
【作者单位】：江苏省文化厅;江苏省文化艺术研究院;
【分类号】：J825

【相似文献】