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梁素梅的“戏瘾”人生
Ren Min Ri Bao· 2025-07-30 22:33
"你知道吗?我第一次压腿,痛得实在喘不过气来,眼泪唰唰往下流。"62岁的梁素梅,今年刚刚成为粤 剧国家级非遗代表性传承人。若从15岁步入梨园算起,她已经在这个舞台耕耘了40多年。 广西南宁市民族文化艺术基地的名家工作室,满墙的奖状和照片记录下梁素梅的艺术人生。她指了指一 张黑白照片——圆圆的脸蛋,梳着发髻、穿着戏服,一双水灵灵的大眼睛炯炯有神。"这是我第一次演 《打金枝》的定妆照!"梁素梅感慨,"我这个从百色农村走出来的壮族姑娘,做梦也想不到会走上粤剧 舞台。" 梁素梅的父亲是裁缝,母亲是农民,兄弟姐妹六人,家庭清贫。"我12岁考上百色师范学校,由于父亲 突然病倒,家里实在供不起我读书了。"梁素梅回忆着有些迷茫的青少年时代,"我的父母那时都将近60 岁了,我得自谋出路。" 梅花香自苦寒来。真正的考验发生在1996年5月。赴玉林演出途中,她遭遇严重车祸,腰椎粉碎性骨 折,医生说有可能站不起来。从卧床到重新走路,她只花了3个月。又过了两个月,她腰上裹着厚厚的 护具,复出演出,并在当年11月代表南宁市粤剧团参加第五届中国戏剧节,获得个人优秀表演奖。她 说:"观众知道我是车祸后复出的,都震惊了。" 2001年,第七届 ...
广东将把英歌舞、醒狮、人形机器人Walker C带到大阪世博会的舞台
Huan Qiu Wang Zi Xun· 2025-06-24 05:11
Group 1 - The Guangdong Activity Week at the 2025 Osaka World Expo will take place from June 27 to June 29, 2025, focusing on the theme "Green and Beautiful Guangdong, Intelligent Innovation for the Future" [1][2] - The opening ceremony is scheduled for the morning of June 27, with a significant event on June 28 in Kobe, promoting the investment environment of the Guangdong-Hong Kong-Macao Greater Bay Area and facilitating connections in the health industry between China and Japan [1][2] - Over 300 representatives from Chinese and Japanese enterprises are expected to participate in discussions on cooperation in sectors such as health and intelligent manufacturing [1][2] Group 2 - The exhibition will showcase Guangdong's advancements in smart living and sustainable development, featuring a model of the Guangzhou Metro to illustrate smart transportation achievements [2] - The humanoid robot Walker C will provide intelligent guidance and interaction, highlighting innovations in artificial intelligence [2] - The event will also present Guangdong's initiatives in green energy, including offshore wind farms and zero-carbon factories, contributing to global sustainable development [2]
重新认识地方戏的灵魂(坚持“两创”·关注新时代文艺)
Ren Min Ri Bao· 2025-06-11 08:18
Core Viewpoint - The new regulation from the National Arts Fund aims to encourage local theater companies to cultivate their own creative talents and avoid over-reliance on external creators, which could lead to a loss of the unique characteristics of local theater forms [2][4]. Group 1: Importance of Dialects - Dialects and vocal styles are considered the soul of local theater, and any innovation should not compromise these essential elements [2][5]. - For example, the Fuzhou dialect retains many ancient Chinese linguistic features, which play a crucial role in the rhythm and vocal style of Min opera [2][3]. - Other dialects, such as Cantonese and Puxian, also contribute unique tonal qualities that enhance the expressiveness of their respective operas [2][3]. Group 2: Rich Vocabulary and Characterization - Local dialects possess diverse vocabulary systems that enrich character portrayal in performances, allowing for distinct language images that enhance the overall theatrical experience [3][4]. - The use of dialects enables the creation of vivid and relatable characters, making local theater more engaging and culturally resonant [3][4]. Group 3: Challenges with External Creators - External creators may lack the time and understanding to fully grasp the complexities of local dialects, which can lead to a dilution of the unique characteristics of local theater [4][5]. - There is a concern that younger local playwrights may not possess the same level of proficiency in dialects as their predecessors, risking the authenticity of local theater [4][5]. Group 4: Vocal Styles and Musical Integration - Each local theater form has its own distinctive musical style and instruments, which are integral to its identity [5][6]. - However, the trend of using standardized orchestration and composition by prominent directors may overshadow the unique musical elements of local theater, leading to a loss of differentiation between musical theater and traditional opera [5][6]. Group 5: Innovation vs. Tradition - While innovation in local theater is necessary, it should be approached with caution to preserve the essence of dialects and vocal styles [6][7]. - Successful adaptations and innovations should respect and integrate traditional elements rather than replace them, ensuring that the unique cultural heritage of local theater is maintained [6][7].