京劇連台本戲宰相劉羅鍋音樂唱腔的創作體會.pdfVIP

㆖㆘求索勤發憤 山外青山樓外樓 朱紹玉 Zhu, Shao Yu 北京京劇院 教授 摘 要 戲曲音樂的創作要邁向「革新」抑或「創作」？何謂「新」？何謂「舊 」？使用了新的布景、服裝、燈光、道具，便是「革新」嗎？「穿舊鞋走新 路 」，即是在舊裡有新，新中有舊，此種思路便是筆者創作京劇連台本戲《 宰相劉羅鍋》音樂唱腔的思路總結。 本戲中所謂「舊鞋」的功能，在於撩撥起現代人的懷舊情結，即引發「 發思古之幽情」之情懷，便是要將所有的音樂唱腔旋律，繼承傳統，不離京 劇本體。本戲中所謂「新路」，即是著重於精緻服裝的展現。 針對聲腔的設計、編配，筆者朝著「多元化」的方向，即避免單一流派 的重點，便產生出流派之間的相互激盪。自「樂隊編制」，以至於樂器本身 ，乃至於於配合唱腔、身段、劇情等，所需用的表現手法，皆是筆者所具體 實踐之心路歷程。 關鍵字 : 京劇樣板戲、行弦、一戲一格、聲腔音樂、板式、文武場面、開門、 大開門、打擊樂創作 170 臺灣戲專㈻刊 Performing Arts Journal The creative appreciation of musical work from the serialzing jingju 《The Prime Minster Liu, Luo Guo》. Zhu, Shao Yu Summary: Must theatrical music head for “innovation” or “creation” ? What is “new ” and what is “old”? Does using new setting, costume, lighting, or props mean “ innovation” ? “Walking in used shoes” manifests that there is new in old whereas there is old in new. This is what the author holds when composing the singing in the Jingju(Beijing Opera)“Chancellor Liu, lo-kuo.” The function of the “used shoes” in the play is to remind modern people of the reminiscent atmosphere. This is to transmit all the singing and melody from the traditional way without straying from the Jingju(Beijing Opera) itself. The “new route ” in the play is to emphasize the exquisite costume in it. As for the design in vocal expression and arrangement, the author does in a more “diversified” aspect so as to shy from a single branch. In this way, it can generate some mixed results between different branches. The author implemented different ways of expression by means of band arrangement and instruments along with singing, movement, and plot. Key words: Jingju(Beijing Opera) , Chancellor Liu , Lo-kuo ,