“三色”析李艳妃的“打”与“跪”——展示京剧皮黄腔的表现性

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	英文篇名：The Expression of Pi and Huang in Beijing Opera 作者：刘正维 英文作者：Liu Zhengwei; 关键词：徵羽宫 ; 三音列 ; 三色论 ; 生旦净 英文关键词：zhi mode;;yu mode;;gong mode;;three tone series;;tricolor theory;;sheng,dan,jing 中文刊名：NJBY 英文刊名：Journal of Nanjing Arts Institute(Music & Performance) 机构：武汉音乐学院音乐学系; 出版日期：2019-04-15 出版单位：南京艺术学院学报(音乐与表演) 年：2019 期：No.160 语种：中文; 页：NJBY201902010 页数：8 CN：02 ISSN：32-1557/J 分类号：8+60-66

摘要

京剧《二进宫》,表现明穆宗死后,太子年幼,李艳妃执意要让其父李良代理朝政,遭到开国将徐延昭与兵部侍郎杨波在金銮殿的坚决抵制。以致李妃怒到要"打"砸玉玺。李良终于得势,图谋篡位,将李妃封锁在"昭阳"。李妃悔,"跪"求徐杨,终于平息叛乱。本文依据徵羽宫三色"三音列",剖析"打"和"跪"的两段戏,展示京剧皮黄腔特殊的表现功能。
        The Beijing Opera "Twice Entering the Palace" shows that after the death of Ming Mu Zong, the prince was still young, and Li Yan Fei insisted on letting her father, Li Liang, to be the acting ruler. It was resolutely resisted by Xu Yanzhao, the founding general, and Yang Bo, the deputy minister of defense, at the Temple of Jin Luanyuan. As a result, Li Yan Fei was angry enough to "beat" the jade seal. Li Liang finally gained the power and he tried to usurp the throne by blocking Li Yan Fei in "Zhao Yang". Li Yan Fei repented, knelt and begged Xu Yang, and finally quelled the rebellion. Based on the tricolor "three tone series" of the zhi mode, yu mode, and gong mode, this paper analyzes the two acts of "beating" and "kneeling" in the show to show the special performance function of the "pi" and "huang" melodies of Beijing Opera.

引文

[1]刘正维.差之半音,失之千里[J].交响(西安音乐学院学报),2010(3).