移步不換形－當代戲曲《大唐貴妃》之探討

Steps Moving without Changing Body Shape

朱芳慧(Fan-Huei Chu)

《臺灣戲專學刊》 13期 (2006/07) Pp. 79-115

https://doi.org/10.7021/PAJ.200607.0079

摘要

《大唐貴妃》的創意緣起於2000年底的上海國際藝術節，當時蒞臨觀摩的梅葆玖先生，與上海市委副書記龔學平，談到希望能與上海合作，對二十年代的梅派戲《太真外傳》進行改造。《大唐貴妃》改變過去一團一戲的模式構築起跨院團、跨劇種、跨地域的平臺以空前的規模實施藝術資源和人才資源的統整。什麼樣的戲曲作品能夠吸引更多的年輕觀眾進入劇場？戲曲改革的方向將往何處去？幾乎是每一個新創劇目的創作人不斷思考的問題與一直努力的目標。《大唐貴妃》這部中國大歌劇，是對梅派藝術繼承與創新的探索。也因此甚受戲曲界之關注與重視。
本人不揣譾陋，試圖就《大唐貴妃》之歷史故實，並由開天遺事相關之重要文學勾勒唐明皇、楊貴妃之文學形象，以此先作基礎之考究，然後進一步對《大唐貴妃》之創作理念予以檢討，從而逐場評述其得失，最後對諸家所作之評論略作商榷，以見《大唐貴妃》作為現代劇場戲曲之意義與價值。

關鍵字

傳統戲曲 ； 新編京劇 ； 大唐貴妃 ； 現代劇場 ； 太真外傳

並列摘要

The creative concept for the famous opera show-”Datang Imperial Queen” began from Shanghai International Art Festival 2000. At the time, Mr. Mei, BaoJiu visited the festival accompanying with deputy secretary of communist party of Shanghai committee Mr. Gong, XuePing. They discussed the feasibility to cooperate together and to recreate the show ”Tai-Zhen the other biography” that originally was shown during the period of nineteen twenty. ”Datang Imperial Queen” changed the way to present traditional Chinese opera. It totally removed the formality of rolling down one play in order to construct next play. It combined different types of drama and platform, utilized the combined resources of artistic and figure dancing within a single and continuous stage opera. What kind of Chinese opera shows can attract more young audience into theater? Which direction will be for Chinese opera type drama will be in the future? This is the fundamental question in the mind of almost any creative artist, and also is the final destiny for an artist for soul searching.
Although my talent is limited, I tried to combine the collected stories and biography from the period of Tang Density, and to correlate the literature and contour sketched images of Emperor Tang Ming and Queen Yang GuiFei as the foundation for screen comparisons. Furthermore, re-evaluate the concepts of screen writing in the ”Datang Imperial Queen”, and to discuss the historical correlations with some remarks. Those historical correlations with creative figure shapes and to perform steps moving without changing body shape in the show can present the true value and meaning not only for this opera, but also for the modern Chinese opera.

並列關鍵字

Traditional Opera ； Newlying Organize Beijing Opera ； Modern Theater ； Datang Imperial Queen ； Datang highest-ranking Imperial Concubine ； Too Real Outside to Spread ； Steps Moving Without Changing body shape