（来源：市场星报） 【山桃红】则为你如花美眷，似水流年，是答儿闲寻遍。在幽闺自怜。小姐，和你那答儿讲话去。（旦 作含笑不行）（生作牵衣介）（旦低问）那边去？（生）转过这芍药栏前，紧靠着湖山石边。（旦低 问）秀才，去怎的？（生低答）和你把领扣松，衣带宽，袖梢儿揾着牙儿苫也，则待你忍耐温存一晌 眠。 这曲【山桃红】虽说多是对话，但开篇几句诗语便为对话营造了节凑，真乃抒情意味凸显，诗意盎然。 与古典小说叙事形态同理，如果说"戏曲表面是讲故事，深层次仍然是要抒发自己的情感"，那么以此类 推，与戏剧相似的小说自然也在这一原理之中。应该说，文学就是情感的载体。诗人、小说家一生都在 悉心侍候自己的思想情感，情生于万物之诱惑，如此才有生命写作的诞生，情滞而文谢，情是妙文之 源。纵然中西方文学观念有所差异，但在研究定论文学起源说中，却也有人主张文学起源于情感说，托 尔斯泰就是一个代表。 以中国"诗言志，歌咏言，声依乐，律和声"的文化渊源为考，明清以来的戏曲、小说的真正核心还是离 不开一个"情"字，正如童庆炳所说，"明清以来，戏曲、小说作品的大量出现，从表面看，似乎离开了 抒情传统，转向了叙事方面。其实也不尽然。因为第一，明清两 ...

（来源：上观新闻） 王夫之论诗，特别反对诗与史的混淆。他说："夫诗之不可以史为，若口与目之不相为代也，久 矣。"（《姜斋诗话·十二》）他认为杜甫是蓄意将诗史混淆的人，批评杜诗"于史有余，于诗不足"，而 那些以"诗史"吹捧杜诗的人，则是"见驼则恨马背之不肿"的无知之辈——"是则名为可怜悯者"（《古诗 评选》卷四）。 现代史家陈寅恪解陶渊明的《桃花源记》，正是以史解诗、视诗为史的"见驼恨马"的态度。他的《桃花 源记旁证》称："陶渊明《桃花源记》寓意之文，亦纪实之文。"陈寅恪动用其史家的全套技术，花了大 力气，要考察出"桃花源"的实地，就是要在马背上安装一个驼背。寅恪先生对桃花源的"实查"自然不能 成功。不惟他老人家失败了，而且所有解陶诗的驼背功夫都失败了。 有一个很通常的道理，似乎大史家寅恪先生忽视了：如果陶渊明笔下的桃花源真的存在，他自己还 不"携妻子与邑人来此绝境，不复出焉"？要知道，桃花源的景状是："黄发垂髫，并怡然自乐。见渔人 乃大惊，问所从来，便要还家，设酒杀鸡作食。"而陶渊明自己的处境却是："凄厉岁云暮，拥褐曝前 轩。南圃无遗秀，枯条盈北园。倾壶绝余沥，窥灶不见烟。诗书塞座外，日昃不遑研。闲居非陈厄， ...

Core Insights - The "Wanping Spring Festival Opera Fair" has attracted over 100,000 visitors in just the first two days since its opening on February 15, marking a significant cultural event in Beijing [1][2]. Group 1: Event Overview - The fair is a unique integration of traditional opera and local culture, featuring a full-scale immersive experience across the Wanping Ancient City [4][5]. - The event includes over 20 performance points throughout the city, transforming it into a "mobile theater" where visitors can engage with the performances in various locations [5][11]. Group 2: Cultural Significance - The fair combines multiple cultural IPs, including the Chinese People's Anti-Japanese War Memorial, Lugou Bridge, and local opera traditions, creating a distinctive experience that intertwines red culture with festive traditions [15][16]. - The event has become a new trend, attracting visitors from the Beijing-Tianjin-Hebei region, with over 20% of attendees coming from outside Beijing specifically for the opera performances [12][14]. Group 3: Visitor Experience - The immersive experience has led to an average visitor stay of over 3 hours, with families enjoying various activities, including games and traditional snacks [11][18]. - Interactive elements such as the "New Year Seeking Horse Order" and non-heritage markets have drawn significant participation, with creative gifts selling out quickly [24].

水袖翩跹、翎子生风，锣鼓铿锵、戏韵飞扬……在浙江台州黄岩区文体中心内，戏曲荟萃《春色满园》 火热上演，引得满堂喝彩。 "无戏不成年"。鼓点一响，戏腔一亮，年便有了魂。 2026年"浙里有戏"新春文化惠民活动自元旦启幕，以"开年就是戏"为主题，通过11台戏曲精粹全省大巡 演和超过200场精品演出，将舞台延伸至偏远海岛、山区乡镇，让醇厚的戏韵流淌在年味里。 百戏同台 一场创新融合的实验 （来源：中国妇女网） 转自：中国妇女网 头条看点 18个地方剧种同台亮相，各展风华；名角新秀共同献艺，"圈粉"戏迷；11台戏曲精粹剧目、超200场展 演，把好戏送到家门口，让舞台延伸至海岛、山乡……2026年"浙里有戏"新春文化惠民活动把戏曲传播 与文化服务相结合，在之江大地上演"开年就是戏"的惠民实践。 青春戏剧圈粉年轻人 名角云集，新秀竞发。众多"文华奖""梅花奖""白玉兰奖"得主登台之余，更多青年演员挑起大梁，以青 春戏剧圈粉年轻人。 浙江京昆艺术中心95后演员王恒涛最近格外忙碌。1月31日，他主演的《牡丹亭》在杭州蝴蝶剧场登 场。尽管已多次饰演柳梦梅，他仍坚持每天早早到排练厅打磨。"每次演出都是新的创作。"王恒涛说， 他会 ...

经过三年培育，77剧场已成为沉浸式戏剧打卡地，打造引进《大真探赵赶鹅》系列、《9号秘事》及 《哈姆雷特1001》等多部爆款剧目，以沉浸式体验持续出圈。南阳共享际剧场推出国风沉浸式戏剧《因 风起》，将"中国诗词大会"IP线下戏剧化呈现，持续驻演并赢得观众口碑。中间艺术区连续举办八届科 技艺术节，孵化积累数十部原创作品，持续输出优质科技戏剧原创内容与创作人才。2025年新涌现的小 莎翁戏剧艺术空间推出的沉浸式戏剧"小莎翁探案集"系列之《密不透风的化妆间》，以精良的制作、精 彩的情节和互动探案体验，在持续吸引少儿群体的同时也收获了不少成年观众。 沉浸式演出让会馆更有戏 （来源：千龙网） 近日，北京市文化和旅游局公示《北京市推动演艺高质量发展支持办法》2025年度演艺新空间类项目名 单，32家演艺新空间入选。《支持办法》于2025年4月底出台，围绕大型营业性演出、演艺新空间、精 品演出、演艺企业四大方向推出10条举措，推动演艺市场提质增效。 品牌空间持续焕新 北京市自2023年启动演艺新空间试点工作以来，建立市区两级联动、政府协会合力、专项政策保障等工 作机制，大力支持演艺新空间发展。各类演艺新空间凭借多元消费场景、 ...

Core Insights - The article highlights the significant contributions of three prominent Kunqu artists: Cai Zhengren, Yue Meiti, and Zhang Xunpeng, who have deep connections to the classic play "The Legend of the White Snake" [1][2][3] Group 1: Historical Context - The first Kunqu training class, known as "Kun Da Ban," was established in March 1954 with 60 students, marking a pivotal moment in the history of Kunqu [1] - The initial performance of "The Legend of the White Snake" by the students was a memorable event, showcasing their early experiences and challenges in mastering the art [1][2] Group 2: Individual Contributions - Cai Zhengren emerged as a notable performer, initially playing various roles before becoming the standout "Xu Xian" in "The Legend of the White Snake," despite facing vocal challenges during performances [1][2] - Yue Meiti, recognized for her exceptional talent, played the role of "Xu Xian" in the graduation performance of "The Legend of the White Snake," showcasing her ability to embody the character's depth and emotion [2][3] - Zhang Xunpeng, trained under renowned artists, contributed to the revival of Kunqu by blending traditional elements with innovative interpretations, particularly in her performances of "The Legend of the White Snake" [3][4] Group 3: Artistic Legacy - The article emphasizes the enduring impact of these artists on the preservation and evolution of Kunqu, as they continue to inspire new generations of performers [9][10] - The legacy of the Kunqu artists is reflected in the emergence of a new wave of talent, ensuring the art form's vitality and relevance in contemporary culture [10]

图为1月22日高雄展演现场。(主办方供图) 北京戏曲评论学会副会长窦强说，此次两岸昆曲演员同台共演、切磋技艺，使经典剧目焕发出新的光 彩，也充分体现两岸文化同根同源、血脉相连。 1月20日，北方昆曲剧院在位于台北的台湾戏曲学院内湖校区碧湖剧场举行展演。(主办方供图) 1月20日，首场演出在位于台北的台湾戏曲学院内湖校区碧湖剧场举行，演出内容包括《青冢记·昭君出 塞》《货郎旦·女弹》《天下乐·钟馗嫁妹》等；高雄场则于22日和24日在高雄师范大学和平校区演艺厅 举行，演出剧目包含《牡丹亭·拾画叫画》《三岔口》《牡丹亭·游园》等。 展演吸引大量戏曲爱好者前往观看。现场观众表示，北方昆曲剧院的演员们展现了与台湾当地昆曲表演 不同的唱腔风格，令人耳目一新。 中新网台北1月25日电 (记者 刘大炜)北方昆曲剧院近日在台北和高雄进行三场展演，带来《牡丹亭》 《青冢记》《货郎旦》等昆曲作品中的经典选段，让观众近距离感受昆曲艺术魅力。 此次系列展演由中华两岸人民和平交流协会、北京戏曲评论学会和台湾京昆艺术推广协会共同主办。每 场演出均邀请来自台湾京昆艺术推广协会的演员同台演绎，通过两岸昆曲表演者不同诠释方式的交融， 呈现传统戏 ...

Core Viewpoint - The concert "Jiangnan Scenes" featuring composer Gu Guanyin's works highlights the enduring cultural essence of Jiangnan, showcasing the region's influence on his music and creativity [1][9]. Group 1: Concert Highlights - The Shanghai National Orchestra premiered the fifth pipa concerto "Jiangnan Scenes in Three Chapters," which unfolds like three scrolls of ink painting, blending the pipa's melodies with the orchestra to depict a vibrant Jiangnan [3]. - The concert included various pieces such as the poetic music "Remembering Jiangnan," which resonates with the fourfold meaning of Bai Juyi's poetry, and the pipa and guzheng concerto "Peony Pavilion," narrating a romantic journey across life and death [7]. - Conductor Peng Fei described each piece as a painting waiting to be unveiled, using her baton to bring to life the landscapes of Jiangnan through music [7]. Group 2: Composer's Inspiration - Gu Guanyin's works consistently reflect the themes, styles, and flavors of Jiangnan, which he considers not only his birthplace but also a source of inspiration and emotional connection [9]. - He expressed a desire for his music to transport listeners to a familiar yet fresh Jiangnan, filled with old stories and new experiences [9]. - The concert concluded with Gu Guanyin conducting encore pieces "Galloping Horses" and "Three Six," further emphasizing his deep connection to Jiangnan [9].

Group 1 - The core viewpoint of the articles indicates that the Chinese performance market is experiencing robust growth, with significant increases in both the number of performances and box office revenue for 2025 [1][2] - The total number of commercial performances in China for 2025 is projected to reach 640,400, representing a year-on-year growth of 6.58% [1] - Box office revenue for the same year is expected to be 61.655 billion yuan, reflecting a year-on-year increase of 6.39% [1] Group 2 - Large-scale performances (over 5,000 attendees) are anticipated to generate box office revenue of 32.448 billion yuan in 2025, driven by supportive local policies and the integration of performance projects with regional tourism [1] - The musical theater segment is expected to see a box office revenue increase of 7.55% in 2025, highlighting a growing market for this art form [2] - The tourism performance sector is projected to achieve box office revenue of 17.442 billion yuan in 2025, indicating its significance in the overall performance market [2]

Core Insights - The Chinese performance industry is experiencing robust growth, with a projected 640,400 performances and ticket revenue of 61.655 billion yuan in 2025, reflecting year-on-year increases of 6.58% and 6.39% respectively [1] Group 1: Market Overview - The large-scale performance market (over 5,000 attendees) is expected to generate ticket revenue of 32.448 billion yuan in 2025, driven by supportive local policies and the integration of performance projects with regional tourism [1] - The "ticket economy" is enhancing consumer willingness to spend, positioning large performances as a significant driver of local cultural and tourism consumption [1] Group 2: Artistic Trends - The market for stage arts is showing a high degree of commercialization, with musical theater ticket revenue projected to grow by 7.55% in 2025 [1] - Mainstream themes in productions are becoming more vibrant, with works like "Finding Li Ergou" and "Under the Night in Harbin" showcasing high-quality performances that enrich the cultural landscape [1] - Traditional cultural elements are gaining popularity, with national style musicals such as "The Knight and the Flower" and "The Great Status King" resonating with audiences [1] Group 3: Theatre and Tourism Performances - The drama market is characterized by a dual approach of classic adaptations and original contemporary themes, with new productions like "Romance of the Three Kingdoms" and "Peony Pavilion" gaining market attention [2] - The ticket revenue for large and medium-sized tourism performances is projected to reach 17.442 billion yuan in 2025, with innovative elements like drones and fireworks enhancing audience engagement [2] - The integration of national trend IPs with cultural tourism is revitalizing traditional arts, making them more appealing to modern audiences [2]