粵曲粵劇趣味話題 (卷一） 日期：2015/04/26 22:55 留言者：KC 通常網上討論，好易談興正濃離了題！又來不及去談天說地版設題！不如就開個廣濶的題目！ 任大家隨意發揮吧！ （出貼日期：2012年10月21日）上面日期乃本貼修改過的日期！

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Re: 粵曲粵劇趣味話題 ( No.7167 ) 日期：2014/06/08 22:48 留言者：老三 昨晚的街唱，天气其实是非常闷热的…。但因为大家最怕的是下雨，而却偏偏好几处地方都下雨而旺角没有下雨…。天从人愿之下，大家都几乎忘记了极闷热而很不爽的汗淋淋…。情绪高涨而又乐也融融。 老三灌了二支水，似乎还未能补充所出的汗水…。呵呵…人生，最重要的是乐在其中…！ Re: 粵曲粵劇趣味話題 ( No.7168 ) 日期：2014/06/09 00:39 留言者：四姑娘 開就好 Re: 粵曲粵劇趣味話題 ( No.7169 ) 日期：2014/06/09 08:20 留言者：麥友成 早晨~ Re: 粵曲粵劇趣味話題 ( No.7170 ) 日期：2014/06/09 08:42 留言者：KC 晨早吊吊嗓！ 合士乙上六！ 六上乙士合！ 日日好健康！ Re: 粵曲粵劇趣味話題 ( No.7171 ) 日期：2014/06/09 16:18 留言者：Hawaiian http://www.009y.com/article-11583-1.html Re: 粵曲粵劇趣味話題 ( No.7172 ) 日期：2014/06/09 16:19 留言者：老三 粤剧为何越唱越没腔 2014年06月04日 羊城晚报 羊城晚报：现在新编粤剧对唱腔设计很依赖？ 国家一级演奏员、资深粤剧唱腔设计卜灿荣（见题图）：是的。虽然以前也有唱腔设计，但旧时演员大都会对唱腔加入自己的理解，形成独特的腔口，但现在几乎都依靠唱腔设计和音乐设计。正如罗家宝打趣道，现在都唱卜腔（音乐唱腔设计卜灿荣）、万腔（音乐唱腔设计万霭端）。 羊城晚报：所以现在韵味是少了？ 卜灿荣：可以这样说。而且，由于很多时候唱腔设计、音乐设计、编剧和导演缺乏沟通，或者大家对粤剧的理解不同，就会出现“唱不出的腔调”。早前《南海一号》中就出现过这种情况，编剧用普通话填进粤曲韵律，演员都唱到哭笑不得，后来还得一一改过来。 羊城晚报：有人说粤剧之路越走越窄，腔口越来越没韵味是否印证这点？ 羊城晚报：有人说粤剧之路越走越窄，腔口越来越没韵味是否印证这点？卜灿荣：民族之花自有其生存的土壤，与其忧心忡忡不如多干实事。不断创新是粤剧的优良传统，我不认为粤剧会越走越窄，也不认为它会灭亡。 当下广州，有一种“文艺复兴”，叫创作新大戏。这边厢，广东粤剧院才推出的新编粤剧《梦·红船》；那边厢，广州粤剧院也动作频频。近日，作为“广州市戏剧创作孵化计划剧目”第四部原创粤剧——《鹅潭映月》在南方剧院连续两天公演；同时，羊城晚报记者又获悉，由市文广新局和广州粤剧院牵头，国家一级导演胡筱坪、国家一级编剧卫中合力打造的粤剧新创剧目《村道弯弯》已通过第二稿讨论。粤剧以新戏“喷井”之姿态重回市民视线。然而，新剧本故事硬伤累累、唱腔韵味不如从前，以及该由本土还是外省人员编导等一系列问题，也成为粤剧艺术前行的新思考点。 一种说法： 粤剧要出新，就要打破地域限制 2012年由广州市文广新局立项、市文学艺术创作研究院推出的“广州市戏剧创作孵化计划剧目”，旨在为年轻编剧、演员提供实践平台。从2013年初上演的《歇马秀才》到今年5月底公演的《鹅潭映月》（以下简称“《鹅》”），该计划已“孵化”出四部作品。《鹅》剧由青年编剧余楚杏执笔，我院红豆粤剧团优秀青年演员陈骏旻、伍韵飞担纲主演，是青年演员充分展示才能的一次良机。”广州粤剧院董事长余勇说。而由国家一级编剧卫中编写剧本、国家一级导演胡筱坪指导，反映本土当代农村题材的新编粤剧《村道弯弯》（以下简称“《村》”）第三稿剧本拟定于6月底完成，7月中旬进入排练场。 由于胡筱坪和卫中均非广州导演和编剧，因而，《村》的创作难以避免地也陷入“外省人编导粤剧”的争议漩涡中。 “其实，中国戏曲之所以在当代越来越不受喜欢，重要原因是千戏一面，因此，编导要做的是使每部剧呈现其特有的与别不同的姿态，能够挖掘不同剧种的不同姿态，没有必要着眼是本地编导还是外省编导。”胡筱坪向记者说，“中国戏曲大部分是相通的，别的剧种都不强调主创团队是本地的，就是粤剧老是强调这个，现在广州还有多少纯正广州人？以我对粤剧的了解，粤剧是一个很开放很包容的剧种。新中国成立以前，广东粤剧就能融合不同的音乐进唱腔……最终还是要看能不能出作品，而不应强调并排斥非本地主创。” 胡筱坪认为，目前“广东粤剧走不出去”是个值得研究的命题。“上海越剧的发展也对原有的曲牌作了突破；还有京剧，样板戏就是突破了旧有京剧的版腔音乐和词牌，我记得上世纪80年代，有个看京剧60多年的老人家跟我抱怨过，‘哪有这样的京剧’，但现在，没有人不承认样板戏是京剧。粤剧太强调梆子和二簧的体系，一定要把词改成固有的唱腔形式，这就让形式局限了自己的发展道路，突破不了，所以现在戏是新的，故事、立意都是新的，但腔调是陈旧的。粤剧发展这么多年了，到底哪些是代表岭南文化内核，哪些需要承继，哪些需要革新，确实应该好好讨论和研究。但粤剧是包容的，这是这个剧种的内核精髓”。 另一种说法： 全靠过江龙，不利培养本地人才 不过，以“全粤班”为卖点的新编大型粤剧《梦·红船》（以下简称“《梦》”）主创团队对“过江龙”与“本地姜”又有另一番看法。 作为《梦》的总导演，广东粤剧院院长、国家一级演员丁凡向记者坦言，本土导演确实出现断层现象，青黄不接。但总是找外省团队创作，对本地人才培养并非好事，“首先要给机会”。 “老一辈粤剧导演大都是从武打演员转型而来的，好处是他们有舞台经验，知道观众喜好；但又常因对剧目的整体构思和全体人物角色分析不够而未能让整部戏上一个台阶。后来，就都请外地导演，而这些‘过江龙’很多是不懂粤剧的，钱是花了，但不一定有好作品。”丁凡说，有鉴于此，近年广东粤剧院着手培养自己的导演，包括从中国戏剧学院导演系挖掘人才，“出来的作品也有问题，不是专业水平问题，而是经验和思想层次不足，控制不了大局，这些年来了不少新导演，但都没有真正能独立导剧的。” 左右为难之际，丁凡决定亲自执导《梦》剧。“我是凭自己做了几十年大戏的经验，起码我了解唱腔和舞台表现，知道观众喜欢看什么。比外来导演更熟悉市场和粤剧表现形式。公演这几场下来，很多老叔父都很中意，唱腔也没有奇奇怪怪的，似个粤剧样。”他说。 除了导演和编剧是本土人才外，《梦》剧的灯光、舞美、服装设计等等都是“全粤班”。“我最不喜欢当下一个文化现象，就是文艺作品都是奔着拿奖去的，为了拿奖，可以全部请替枪。第十届中国艺术节中，东莞以音乐剧《钢的琴》一连拿了文华音乐创作奖、文华舞台美术奖、第十届中国艺术节优秀表演奖、文华奖优秀剧目奖，风头无两，但除了钱是东莞出的，其余创作演员都是别人的，拿了奖，这个颇具东北风味的音乐剧就走了，这能成为岭南文化流传的部分吗？不可以。”丁凡强调：一千几百万元扔进一个节目只为拿奖，是一种浪费，中央精神是要创作适合大众的剧目，有人看才是好作品。 Re: 粵曲粵劇趣味話題 ( No.7173 ) 日期：2014/06/09 17:27 留言者：老三 一众老艺术家面临收入不敷医疗支出 酝酿多时的广东粤剧院青年团年度新戏《梦·红船》，终于在近日公演，其在内部试演期间，更邀请了久未露面、年过八旬的著名粤剧老倌罗家宝(艺名“虾哥”)前来捧场，让不少粤剧伶人雀跃不已，也令众多戏迷再度回味悠扬“虾腔”。 粤剧“虾腔”成就斐然，不过，如今距其创始人“虾哥”上一次登台演出——“罗家宝粤剧艺术六十年”活动已经过了十多年，退休后在番禺静养的“虾哥”今可安好？ 羊城晚报记者带着大家的问候，走进“虾哥”家中，不料，却获悉一众老艺术家正面临收入不敷医疗支出的尴尬局面。 番禺静养 生活简朴 与记者一同“探虾”的还有广东粤剧院党委书记、副院长陈列东，广东粤剧院宣传推介中心主任梁彦兰，资深粤剧专线记者彭寿辉等。当天天色虽有点阴沉，但一早坐在客厅中等待客人的“虾哥”仍显得十分精神，虽然已患有多年肺部疾病，但见到记者、前同事和“粉丝”，他都一一点头问好，言语间，力气仍在。 陈列东向“虾哥”汇报着粤剧院的各项动态：新剧《风云2003》的首演，该戏以钟南山为原型，叙说了11年前那场非典战役；《梦·红船》的台前幕后如何打造好戏；谁演着什么角色……“虾哥”一边听，一边点头，慢慢说了一句：“(剧院)远啊！”但在众人一再要求他去看看新剧场劝说下，和善的“虾哥”又答应，身体情况允许的话，就回剧院看新剧和排演。 一代名伶退出舞台后，生活十分简朴。闲谈间，“虾哥”告诉记者，他每天晚上8点多就休息，次日早上6点就起床，自觉胃口一般，每餐一碗饭量。精神好的话，偶尔会看看报纸和电视；天朗气清之时，又会到附近散散步。“这里静，空气好。” “小木兰、陈小珍……他们一个月会来(我家)一次。我时不时也会回西关，1954年回来后，我就住多宝路，一直到‘文革’(1966年)。”虽然话语欠连贯和清晰，但“虾哥”思维仍敏捷，对于有朋自远方来，更是备感欣喜。 忆旧事，甚唏嘘。家访当天，年过七旬的彭寿辉向记者“虾哥”回忆起其第一次听现场版“虾腔”，是《潇湘秋夜雨》。“当年我也是头一次采访‘虾哥’，但印象很深刻，‘文革’后，他第一次重回舞台，却演出失声，我看到的不是观众喝倒彩，而是‘虾哥’在后台失落得泪眼盈盈，再是众多戏迷则纷纷安慰他，让他不要害怕，慢慢就能开声了。”他说，粤剧报道不仅写台上风光演出，台下的互动才是戏外真情。 “虾哥”也目光一转，立即来劲道：“是，那是1955年，我还在太阳星剧团。这样就几十年了。” 联名争取 医疗补助 除了跟“虾哥”闲话家常，这次探访还需“虾哥”一个签字。不过，此非戏迷索要签名，而是几个老艺术家联名向省长朱小丹要求增加医疗补贴。 据悉，参与联名的都是广东省省属文艺团体中享受国务院特殊津贴(简称“特贴”)的部分专家，由于自2002年12月始，广东文化厅属下的广东话剧院、广东粤剧院、广东歌舞剧院等三院二团所有在职、退休人员全部参加了广州市的医疗保险。其中退休人员每月划入个人账户的比例为广州市职工上年度平均工资的5.1%，与个人的职称、级别不挂钩。自此，这批老艺术家每月只有90元的门诊医疗费，住院报销50%左右。到2014年，这批老人的门诊医疗费用增至200多元，加上统筹300元，但由于被限制看一次病只能开一个星期的药，许多七八十岁的老人，每个星期拄着拐杖往医院跑…… 据“虾哥”家人表示，由于常年患有严重肺部疾病，“虾哥”常用治疗费和医药费每月就高达3000元，而且，因要长期吸氧，“一瓶氧气三天不到就用完了，光这笔费用，每月又要两千多。”“虾哥”妻子喜姐说。 同时，记者了解到，即便获颁过广东省粤剧“突出成就奖”，作为国家特贴专家和人类非物质文化遗产传承人的罗家宝，也是靠每月不到一万元的工资和每年一万元的传承人补贴度日，常规医药费已占去其大半收入。“早前入院用了20多万医药费，说是特诊，也不能报销。现在都是靠徒弟们帮助。”喜姐说。 一直为国家特贴专家医疗待遇奔走的姚锡娟是这次联名信的发起人，其指出，早在2009年3月，相关部门就出台了粤劳社函【2009】588号《关于我省省属单位享受国务院特殊津贴专家医疗补助问题的通知》，但五年来，该文件一直未能落实执行。 谈及政府医疗补助的下发，这些风烛残年的老艺术家都不知道还要等多久，也不知道，还能等多久。 Re: 粵曲粵劇趣味話題 ( No.7174 ) 日期：2014/06/09 17:58 留言者：寸草心 小草E家後悔唔陪騷搵養老金咯! Re: 粵曲粵劇趣味話題 ( No.7175 ) 日期：2014/06/09 22:45 留言者：老三 寸哥：有不少陪騷费…，也难敌人老病魔缠身…。还是香港好…！ Re: 粵曲粵劇趣味話題 ( No.7176 ) 日期：2014/06/09 23:08 留言者：寸草心 老三兄, 曾听講, 虾哥, 風哥已係香港居民? Re: 粵曲粵劇趣味話題 ( No.7177 ) 日期：2014/06/09 23:29 留言者：老三 寸哥：按表面的资讯，风哥应是香港黑印，而虾哥就未必有印。否则，虾哥亦无需每月付数千元药费给大陆的医院呵，香港医疗保障措施，世界一流的呵。 Re: 粵曲粵劇趣味話題 ( No.7178 ) 日期：2014/06/10 08:24 留言者：麥友成 早晨吖~

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