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.3352 ) 日期：2013/06/25 13:48 留言者：一家言 　　回复青玉案小姐： 　　１、在下不是圈中人，只不过退休五六年了，唱唱粤曲来打发日子也是不错的选择，所幸周围有一班见多识广的退休老友，他们也一样喜欢粤剧、粤曲，平时又钟意睇戏，从各种各样的途径听来杂七杂八的信息，每天饮茶时说出来分流探讨，我便拿出来与网友们一同分享罢了。 　　２、骆玉笙的京韵大鼓在全国都很有影响，须知中国曲协主席的位子不是阿猫阿狗都坐得上去的，她最经典的作品是电视剧《四世同堂》中唱的《重整河山待后生》。听来令人感慨成千，热血沸腾。 　　３、唱粤曲的人以成年人甚至是老年人为多，而粤曲唱的很多时都是“埕埕塔塔”（情情爱爱）的内容，痴男怨女，缠绵悱恻，不一而足，要六七十岁的过来人学后生仔女作无限深情状，有时真是很“骨痹”，但你唱我唱，大家似乎也都习以为常了。 　　４、丁凡的师父是谁？这可真是“审死官”。当年他是广东省德庆粤剧团的年轻文武生，听说他祖籍湖南，老爸还是南下干部，他被剧团送到省剧校进修、后来因为靓仔好声被留在省粤剧院代培，当时省粤剧院正缺青年文武生，所谓时也运也，他和刚从省粤剧学校毕业出来的陈韵红，便被视作“金童玉女”留在青年剧团，两人一拍搭就是十多年。在某份罗品超演出的场刊上，说过他是罗品超的徒弟，但从丁凡所演的戏路看，他和鉴叔的师徒关系可能也是“讲下”而已。因为那时，鉴叔是粤剧院的副院长，谁不想认是他的徒弟呢？这一层，熟悉中国国情的人都会明白的，就好比现在丁凡是粤剧院院长，他的徒弟多罗罗，光是在省粤剧院几个团内就有十多个。 　　５、许文杰父母都是搞粤剧的，他本人也很努力，现在是青年团的小生。在省粤剧院，青年演员想要上位最好就是拜丁凡为师，演花旦的，演花脸的，演武生的，演小生的，他是有教无类，照收不误，就怕丁院长他精力有限，分身无术。丁院长近年因为听觉上出了问题，唱曲时常不“食线”，“飞曲”也是经常有的事，希望许文杰好自为之，择善而从！ Re: 粵曲粵劇趣味話題 ( No.3353 ) 日期：2013/06/25 14:53 留言者：辛奇士 一家言先生以业余能有专业水平，十分难得。新凡风亦系业余曲艺研究者，但系佢成日同小弟讲佢仲系学习阶段、攀车边。曲海咁阔咁深边个唔系呢？佢地两个周不时通电话交换消息、睇法。喂，新佬呀！如果第日你同一哥饮茶记得嗌埋小弟去听野，最多找数o者！ Re: 粵曲粵劇趣味話題 ( No.3354 ) 日期：2013/06/25 15:06 留言者：Hawaiian 拜丁凡为师，演花旦的，演花脸的，演武生的，演小生的，他是有教无类，照收不误，就怕丁院长他精力有限，分身无术。 請問要具備乜資格才可以收徒弟呢?如丁凡一向係做文武生,有冇資格教人做其他行當? Re: 粵曲粵劇趣味話題 ( No.3355 ) 日期：2013/06/25 21:53 留言者：小陳 我看過幾個訪問 ，無論圈內圈外都說丁凡人品好，我想不以藝術成就論，丁先生應有過人之處。 Re: 粵曲粵劇趣味話題 ( No.3356 ) 日期：2013/06/25 22:10 留言者：DJ 姐姐 有緣與丁凡近距離接觸，感覺他口齒伶俐，談吐得體；待人接物，不分上下, 皆以禮待之。 我想不以藝術成就論，丁先生應有過人之處。 Re: 粵曲粵劇趣味話題 ( No.3357 ) 日期：2013/06/25 22:57 留言者：guan 李後主電影不是戲曲片？那算是什么片？ Re: 粵曲粵劇趣味話題 ( No.3358 ) 日期：2013/06/25 23:19 留言者：路過 李後主電影不能當作戲曲片，全片沒有半句梆王，沒有鑼鼓。 Re: 粵曲粵劇趣味話題 ( No.3359 ) 日期：2013/06/26 04:59 留言者：TL 試從以下幾個方面來探討粵劇的現狀。 一、由於十二平均律的引進，最有特色的乙反及弱乙反調式比例漸小。尤其是新編小曲，用乙反調式者更為罕見。 二、引入大量時代曲、藝術歌曲和民樂曲调。一首粵曲的容量本來就有限，現在像是外調與粵調爭地，外調愈來愈多，粵調愈來愈少。 三、選字用詞、語法句式漸向普通話的語言規範靠攏，粵語中的俚俗方言逐漸被邊沿化。“的是”盛行，“嘅係”失踪。 四、拍和樂隊趨向民樂化。低音部加強；地方特色樂器（比如喉管三弦等）被忽視。相對上述三點，這個變化似乎頗得民意，還算“河蟹”。 說明一、粵曲一直以來都在吸收外種藝術的積極因素來求得自身的發展。上述只是現象羅列，不含價值判斷。 說明二、基於說明一，從來都沒有所謂的傳統的粵劇（曲），只有粵劇的傳統。 說明三、粵劇在省港兩地的生存狀況確有不同，但也是水乳交融，難分難解。若問粵劇傳統的前景，一語以概之：“豈能獨活，與子偕亡”。 有感於辛兄、一家言及青玉案網友的高論，一得之見，謝過，並希賜正。 Re: 粵曲粵劇趣味話題 ( No.3360 ) 日期：2013/06/26 09:06 留言者：Kc 早晨！早晨！ 新的一天！充滿新希望！今晚仲有馬跑添！ 又向目標123456進發！ 有個平台，可有共同話題會會友！ 難能可貴也！ 能吸引人論論同粵曲粵劇有關事！ 倒也不錯！ 今日又讀番首詞，吹吹水先！ Re: 粵曲粵劇趣味話題 ( No.3361 ) 日期：2013/06/26 12:03 留言者：Kc 從網上搵倒的李後主一首詞，及評論！ 有空讀下都唔錯！點唱？又係網上尋啦！互聯網真好！ http://m.youtube.com/watch?feature=related&v=_K2TKCYifFo 相見歡 林花謝了春紅，太匆匆，無奈朝來寒雨晚來風。 胭脂淚，相留醉，幾時重？自是人生長恨水長東。 　此調亦作烏夜啼，調凡五韻，每韻一節。句法長短錯綜，口十 韻也有抑揚頓挫，聲情悲壯，譚獻評為「濡染大筆」。上片三句 三意，而又妙有連絡，一氣貫注，真天衣無縫之筆。林花卸去了 紅色的春衣，憔悴得可憐，言外有好景不常之意。「太匆匆」， 表示驚歎的語氣，有想衰落到得那樣快的意思。貌雖寫花惜花，實 則寫人，這個人是他自己。曹彬下江南，以浮梁渡江，迅雷不及 掩耳，兵臨城下，而南唐遂亡，這是出於他意想之外的。『無奈 朝來寒雨晚來風』，此就『太匆匆』三字，加以解釋，是說那無 情的暴風雨從朝晚不斷的襲來，那有什麼辦法呢？「無奈」二字 ，極傳悲憤之神。這三句分三次讀，過片三句作一氣讀，亦人花 雙寫之筆。「胭脂淚」，如解作血淚，則指人；解作帶雨的春雨 的春紅，則指花。「醉」字最沉痛，妙在醉的本身又含有紅色的 意味，與血淚林花皂色彩正合。後主鍊字，不求工自工，令人拍 案叫絕！范仲淹詞：『除非夜夜好夢留人睡』，『睡』字用得呆 ，不如改作『醉』字，較為生動。「幾時重」者，不知幾時淚又 下了。後主與金陵舊宮人書。『此中日夕以淚珠洗面』，望江南 詞：「多少淚，斷臉復頤」均極沈痛。最後一句，以水之長東， 比喻人之長恨，妙在於「人生長恨」上冠以「自是」兩字，可以 看出，對對於悲苦的人生，以加以肯定，認為無可避免。所謂「 人生愁情何能免」也。王國維說：『後主儼有釋迦基督擔荷人類 罪惡之意』，可能從這些作品看出。 Re: 粵曲粵劇趣味話題 ( No.3362 ) 日期：2013/06/26 09:37 留言者：辛奇士 TL兄： 粤剧粤曲从来都系拿来主义。粤剧目十之六七改编自兄弟剧种，京剧最多。京罗钹、北派更加唔使讲勒。梆簧源自皮簧，与京剧关系密切。粤曲外来野多，中外都有。广东土产，大概只有歌谣体与广东谱子；单靠土产，不成曲系剧种！明乎此，不必抗拒新原素，只问其能否融入现有体系便是。事实上因不断有新原素加入，粤曲体系亦在变化中。与时并进，而家边个仲重讲女人要扎脚至靓？边个仲重当《胡不归之逼媳》系悲曲？ 文字与口语统一化已经行左几十年。好多广东俗语已经系存其音而亡其字。两三代之後可能唔用，广东农村好多後生仔已经唔讲乡下话。不必哀伤，口述语与书写语统一唔系坏事，更便沟通。 总之，唔好抱遗老心态，逢新必反。亦唔好以新乱旧。艺术上的改良总系在传统基础上吐废炼新，系渐进而唔系革命。 Re: 粵曲粵劇趣味話題 ( No.3363 ) 日期：2013/06/26 10:00 留言者：TL 補充： 第五、與美聲唱法結合。這一點在立網很多爭議，但我認為無所謂。因為這種唱法幾乎只是從業人員的專利，絕大多數粵曲愛好者並沒有條件接受這種訓練。原唱者唱他的美聲，傳到曲社，依然是開口就來，我有我唱。

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