京剧赵氏孤儿的传承.docxVIP

PAGE PAGE # 京剧《赵氏孤儿》 （ 1959 年首演） 北京京剧团／北京京剧院 京剧骨子老戏《搜孤救孤》是与元曲《赵氏孤儿大报仇》相关的剧目。原剧结构 过于简单， 人物个性并不鲜明， 艺术感染力不够强烈， 但因其中个别唱段非常优 美而得以保留。 我的祖父马连良开创的马派艺术思想之一就是演雅俗共赏的戏， 让观众在了解故 事的完整性的基础上，更好地欣赏京剧艺术。 1959 年，他为程婴设计了 “报信、 盗孤、盘门、定计、献孤、打婴、说破、报仇 ”八场戏，首次全面地将《赵氏孤 儿》的故事呈现给观众。他形容自己的创作： “集毕生所学，于程婴一身 ”。 由于该剧艺术感染力强，一经上演，轰动全国。马先生将《赵》剧的表演艺术传 承给了他的弟子张学津等人， 目前在中国的京剧舞台上， 张学津的弟子朱强、 穆 宇等马派传人还在继续传承上演着这一经典， 他们也将会把这出戏再交给他们的 学生。 ——马龙（制作人） The Orphan of Zhao (Beijing Opera or jingju , premiered 1959) Beijing Jingju Company/ Beijing Jingju Theatre Jingju , known in the West as Beijing Opera, is the representative of the traditional theatre in China. The traditional version of the Search and Rescue of the Orphan is adapted from the Yuan dynasty ’ s ‘ miscellaneous plWayrong’ s Avenged by the Orphan of Zhao . Simply structured without distinctive characters, the piece lacks theatricality. However, its beautiful arias make the work appealing and the play is still performed today. My grandfather Ma Lianliang, the founder of the Ma School, created a new production of The Orphan of Zhao in 1959, which represented his artistic ideals. One of Ma ’s objectives was to produce operas which appealed to both refined and popular tastes. He believed that the audience could appreciate the theatrical form better with a comprehensive knowledge of the plot. Hence, in his Orphan , he designed eight acts round the protagonist Cheng Ying, comprising ‘ The Messenger ’, ‘ Smuggling the Orphan, ‘I n’ spection at the Gate , ’ ‘P lotting ‘, ‘B etrayal ’, ‘ Interrogating Cheng Ying, ’R ev‘elation ’, and ‘R evenge ’. The original story was thus for the first time presented fully on a modern stage. Ma Lianliang described this production as ‘ a lifetime ’ s knowledge of art devoted to Cheng Ying ’. The strong artistic appeal of the opera produced a great sensation around the country from its first performance. Ma Lianliang taught this play to his disciples; and now the third generation of the Ma School, like Zhu Qiang and Mu Yu,