浙江艺术职业学院学报
浙江藝術職業學院學報
절강예술직업학원학보
Journal of Zhejiang Vocational Academy of Art
2015年
2期
8-14
,共7页
常州%无锡%滩簧%无锡文戏%辛亥革命
常州%無錫%灘簧%無錫文戲%辛亥革命
상주%무석%탄황%무석문희%신해혁명
Changzhou%Wuxi%tanhuang%Wuxi civil plays%Revolution of 1911
辛亥革命后，常州和无锡的滩簧演出经过艺人和进步观众的抗争而获得了生机。常州出现了“新式滩簧”，其内容和形式均与旧式滩簧有别，而在形式方面变化最大的莫过于妇女登台演唱滩簧。无锡滩簧则通过改良，取得了长足进步。
辛亥革命後，常州和無錫的灘簧縯齣經過藝人和進步觀衆的抗爭而穫得瞭生機。常州齣現瞭“新式灘簧”，其內容和形式均與舊式灘簧有彆，而在形式方麵變化最大的莫過于婦女登檯縯唱灘簧。無錫灘簧則通過改良，取得瞭長足進步。
신해혁명후，상주화무석적탄황연출경과예인화진보관음적항쟁이획득료생궤。상주출현료“신식탄황”，기내용화형식균여구식탄황유별，이재형식방면변화최대적막과우부녀등태연창탄황。무석탄황칙통과개량，취득료장족진보。
After the Revolution of 1911, the performance of tanhuang in Changzhou and Wuxi revived through the struggle of performers and audience. The new style of tanhuang emerged in Changzhou with different content and form from the old tanhuang. The biggest change is that women performed tanhuang on the stage. Wuxi tanhuang achieved considerable progress through improvement.
