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几年来,我们演出过二十多出现代戏。在一系列的艺术改革中,感到旦角的发声方法,是一个比较重要的问题。我们在实践中,曾使用过小嗓、大嗓和大小嗓三种方法。究竟哪种方法好?我们还在摸索尝试。为了促进京剧现代戏的发展,这里把我个人的看法提出来,和大家共同研究。我觉得使用什么发声方法,关系到以下几个问题:像不像具体的剧中人;观众是否听得清听得懂;变了发声方法,唱腔怎么办;要不要考虑艺术的美。我就这几个问题,谈谈小嗓、大嗓和大小嗓的使用,以及对今后发展的看法。
Over the past few years, we have performed more than twenty generations of modern drama. In a series of art reforms, the method of feeling a respectable voice is a more important issue. In practice, we have used three methods: small throat, big throat and large throat. What kind of method is good? We are still trying to explore. In order to promote the development of modern opera in Peking opera, put forward my personal opinion here, and we study together. I think what sounding method is used is related to the following questions: like a person who is not like a specific play; whether the audience can understand it clearly; how to do a vocalization or singing; or whether to consider the beauty of art. On these issues, I will talk about the use of small throats, big throats, large and small throats, and opinions on future developments.