燕子箋之洞房傷別譚穎倫梁心怡郭啟煇高軍翔周洛童吳立熙李晴茵區文鳳

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5 ай бұрын

香港青年粵劇團2023年8月30日高山劇場演出
區文鳳編劇及音樂設計暨曲式句格注釋
譚穎倫飾霍都梁梁心怡飾酈飛雲郭啟煇飾酈安道高軍翔飾宋高宗周洛童飾春香吳立熙飾鮮于佶李晴茵飾酈夫人
區按：上傳燕子箋整折洞房傷別, 是想談談編劇和撰曲的手法。古典戲曲一直有戲分冷熱之說, 即冷場和熱場應如何配合, 其實冷熱之分, 就是直指劇場氣氛的冷和熱, 若從這個角度來看, 就是指戲劇表演的情緒, 那麼悲劇和喜劇又如何分? 從編劇的角度, 如何調整和引導觀眾的情緒, 是一個編劇必備的技巧。因此, 悲劇和喜劇的劇場氣氛不是一指即明嗎? 但若從戲分冷熱, 那麼悲便不能一悲到底, 同樣喜也不能一喜到底, 因為只有悲和喜的對比, 才能讓悲喜的情緒更有層次感。另一方面, 若故事的悲最後是以喜劇作為結局, 那麼就更講究悲喜的調配。而燕子箋洞房傷別, 就是一個很好的說明, 生旦對唱, 基本是以悲為基調, 但結局是大團圓結局, 所以, 為免過悲傷情緒過度渲染, 所以需要回筆, 加入喜劇的味道, 這也是中國人[亢龍有悔]的藝術心態。春香能否成婚便成為這種對比的手段。因為存在一小段喜劇, 編劇便能調整或者控制觀眾的欣賞情緒。
　　撰曲方面, 洞房傷別是屬於二王曲。其實我從沒有受到正式的音樂和粵曲訓練, 人生中大概只是上過5堂粵曲大課, 中學一年級學了4堂小提琴的初級課程訓練, 兩者都沒有貫徹始終。這裡作出說明, 只因我想說清楚我與眾不同的音樂感覺。我先天是數理優才生, 尤其是對結構, 所以, 我是從數學結構來理解音樂的。我們都知道, 粵曲梆子稱為士工, 二王稱為合尺。但在我的角度, 音樂的每個小節都是一個士工或合尺的集合, 每段小曲都是各小節的集合的交結集合。而士工和二王的分別, 就是士工的集合較合尺的集合高了一個音階, 也因此, 士工和合尺便反映不同的音樂情緒, 士工較為高昂一些。而不同音樂的組合, 若屬於不同的集合, 便會出現一種不調和感覺, 而這種不調和感覺未必一定是不好的, 但整體一個唱段結構, 最平和正常是同音樂集合的組合, 除非故意利用這些不諧和感, 以便作出某種情緒表達。這也是我看待二王曲和梆子曲的方式。因此, 若要追求諧和感, 便需要在同一種集合中選曲, 而所謂同一種集合, 就是每個音樂小節, 都屬於同一類型集合, 如[滄海一聲笑], 其第一音樂小節是[65321], 是順著向下, 中間沒有了半級音階[4], 而第二個音樂小節[滔滔兩岸潮]便是[32165], 同樣沒有了半級音階[7], 你就可以看到兩個小節都是在士到工的音階中, 即[合士上尺工]或[上尺工六五]。基於這種方式, 你便可以分辨你選用的曲調是否同一個集合中, 能否更調和地結合。洞房傷別中選用的曲牌, 分別是倒板, 南音, 二王, 訴冤, 斷橋, 惜別等, 其音樂組合, 都是[合士上尺工]和[尺工六五生], =即同屬二王類的音樂, 因此, 這些音樂若組合在一起, 樂段的整體感覺便會一致, 增加了樂段結構的調和感, 而二王類樂曲較士工低了一度, 而表現的氣氛便會較柔和, 也更容易有憂傷的感覺, 如果加上抒緩的速度, 或者利用乙反[註：乙反嚴格來說不是一種調式], 適當地有工和五各提高半度音階, 變成乙和反, 便會表現出淒苦的情緒, 所以乙反又被稱為[苦喉]。
　　最後, 亦想說一說主題, 因為戲劇若要發展和長青, 其主題必須與時並進, 燕子箋的主題是相當現代化的, 主要是想對比成人功利的社會價值觀和年青人純真的理想價值觀衝突, 而大團圓結局只是一種傳統團圓的幻象而已。因為年青人的世界永遠和成年人的世界有不可調和的衝突, 大部分年青人長大成了成年人世界的越堅實的分子, 越和當初純真的年青人世界不可調和。若說是哲理, 這也是我認知我認為是客觀存在世界的哲理。天幸的是, 我沒有因為長大, 也沒有因為我擁有太多, 變成一個和自己理想完全對立的成年人, 大抵因為我是搞藝術的, 也常思哲理的原因吧!

Пікірлер: 90

@candylui5815 3 ай бұрын

亞倫，心怡！好合拍！唱做佳！加油！😍🤩👍👂👏👏

@manfungau1948 3 ай бұрын

謝謝, 請繼續支持他們和粵劇。

@yuetkwanma8461 5 ай бұрын

謝謝!香港粵劇的青年新秀落力演出。預祝此劇團未來所有的公演,演出成功!票房高滿!支持所有演員!旗開得勝!💪💪💪🙏🙏🙏

@manfungau1948 5 ай бұрын

謝謝, 承你貴言, 因為現在做班不容易, 在人人都靠資助的情況下, 穎怡聲這幾個台期都要靠自己, 沒有資助, 真希望大家入場支持。😂

@dabbylau4057 5 ай бұрын

佢地吾係班主組班？🌹

@manfungau1948 5 ай бұрын

班主就係我, 賺蝕都係我, 但蝕多賺少, 因為經濟差特別難做, 而且新秀蝕多啲, 因為除咗兩個主角人工平啲, 其他支出一樣, 但票價要減, 入座率會低啲, 申請資助都少三分之一, 你話難唔難做, 只有我呢啲蠢人, 搞理想至攞錢出嚟做, 新人若非屋企肯俾錢, 都唔使諗自己做老板組班演出。最重要一點, 香港而家情況, 幾大嘅佬倌, 冇資助都百分百蝕梗。移民走嘅人太多, 老人家怕病唔出嚟睇戲, 疫情又改變一般人生活習慣, 冇晒夜生活, 真係好難做。@@dabbylau4057

@waifongchan5938 5 ай бұрын

亞倫心怡好聽靚仔靚女💙💙👍👍💜💜✌✌💗💗🌷🌷💚💚🌼🌼

@manfungau1948 5 ай бұрын

謝謝, 請支持阿倫心怡, 請繼續支持粵劇。

@beatricelum1572 5 ай бұрын

嘩！－聽他開口就被攝住他的唱功和身段之美就目不轉睛看到最後真的太美了 👍🏻👍🏻👍🏻👍🏻心怡亦很美麗可人， 9:56 一台好戱好享受❤

@manfungau1948 5 ай бұрын

謝謝, 會繼續為他們搞演出, 請繼續支持他們, 也支持粵劇。

@123theresawf_chin7 3 ай бұрын

洛童演繹也很生鬼❤加油喔!

@manfungau1948 3 ай бұрын

謝謝, 請繼續支持她和粵劇。

@123theresawf_chin7 3 ай бұрын

@@manfungau1948 一定會🫡😊

@sukyeetam8457 Ай бұрын

👍👍👍👍👍💯💯💯💯💯

@jasminesay1985 5 ай бұрын

Alan,心怡，好！！！🙂👍👍👍👏👏👏

@manfungau1948 5 ай бұрын

謝謝, 請繼續支持他們, 也支持粵劇。

@yukchunho2573 5 ай бұрын

好好聽👍👍👍👏👏👏

@manfungau1948 5 ай бұрын

謝謝, 請繼續支持演員和粵劇。

@user-hg9yw6gb3e Ай бұрын

👍👍👍👍👍

@changee1930 5 ай бұрын

有曲式 👏👏👏🙏🙏

@manfungau1948 5 ай бұрын

謝謝

@yuetyingleung9628 3 ай бұрын

亞倫現在好 fit, 好靚，尤其是身形。

@manfungau1948 3 ай бұрын

謝謝, 請繼續支持他們和粵劇。

@yuetkwanma8461 5 ай бұрын

🙏🙏🙏💕💕💕

@pikyukchow8288 3 ай бұрын

亞倫唱非常有感情，及好聽，好睇演出👍👍👍👏👏

@manfungau1948 3 ай бұрын

謝謝, 請繼續支持他們和粵劇。

@waiyeetai2439 5 ай бұрын

👏👏👏

@yuetkwanma8461 5 ай бұрын

梁心怡在劇中的演繹非常好出色,從她的表情看到少女的天真可愛,很自然，好討人歡喜，尾段的一句捨不得哥哥的表情都演繹好靚,不會公式化。( 比較有現代感)再加讚一句,心怡是我最理想的昭容!❤❤❤👍👍👍

@manfungau1948 5 ай бұрын

心怡令我驚艷的就是她能演繹到少女的感覺, 可能她還年青, 也較理想化, 所以能夠保持到較多純真的感覺, 我就是因為看到同一感覺, 中場休息就走到後台稱讚她, 大抵也因此令我和她結下更深的緣份, 要知道我是一個不斷尋找演員的編劇。😊

@yuetkwanma8461 5 ай бұрын

老師👍👍!老師可不可以考慮將曲式句格用另一種顏色與曲詞分開,使看曲詞時.可以看得快些!

@manfungau1948 5 ай бұрын

試試看@@yuetkwanma8461

@yuetkwanma8461 5 ай бұрын

謝謝❤❤❤

@manfungau1948 5 ай бұрын

不用謝@@yuetkwanma8461

@Sophia-fr9kb 5 ай бұрын

👂😍👍🙏🏿

@greetingswishes7151 5 ай бұрын

只聽到呀倫第一句的合尺倒板，便知道他現在唱曲的功力非凡。以後我會買票支持他的演出。我感覺他的唱腔有文千歲的影子。

@manfungau1948 5 ай бұрын

謝謝, 也請支持所有粵劇。

@andrewtam3185 5 ай бұрын

good comparison, i have been thinking about whom he sounds like (it does not matter, everyone is unique - just curious); his 倒板 is good, stable , to point/note. He is one of the few male artists these days can sing with 粤曲韻味,拉腔轉腔,準而有韻,不单是練出來,很大部分是观摩前輩和吸引,很難得這樣集大成,,這広.好!

@manfungau1948 5 ай бұрын

I agree. When he was three years old, he was taught by his grandfather how to sing Cantonese Opera.@@andrewtam3185

@yuetkwanma8461 5 ай бұрын

一段反線二王下句心怡唱很很婉轉，動聽，而且很有感情!👍👍👍還有周洛憧都唱做好好，她的聲音響亮，清脆，同樣有感情!👍👍👍

@manfungau1948 5 ай бұрын

謝謝, 請繼續支持他們, 也支持粵劇。不過, 我都覺得佢兩個唱做都好, 否則我也不會搞班支持他們。😅

@yuetkwanma8461 5 ай бұрын

周洛憧如果唱陳好逑的鬼馬紅娘應該會好聽!😅

@manfungau1948 5 ай бұрын

搵次叫佢做折子戲試吓。@@yuetkwanma8461

@yuetkwanma8461 5 ай бұрын

@@manfungau1948老師:多謝接受我的提意將曲譜和曲詞分色,十分感激🙏🙏🙏😂

@manfungau1948 5 ай бұрын

唔緊要, 只係呢排有啲忙, 因為納蘭性德要演出, 鎖碎事務多到不得了而已, 但上傳視頻, 也是我的娛樂, 說坦白, 我也借寫曲式, 重溫廿幾三十年前的功課, 尤其是專腔, 咁樣講一講, 自己都清晰啲。仲有嘅劇目演員等, 我都佩服自己三十年前原來做咗咁多功課。🤣@@yuetkwanma8461

@user-nd5qz4cu1j 17 күн бұрын

很😅有柔情，兩位继續努力唱腔，必

@manfungau1948 17 күн бұрын

謝謝，請繼續支持他們和粵劇。

@RickyYick Ай бұрын

花旦唱得很好🎉

@manfungau1948 Ай бұрын

謝謝，請繼續支持她和粵劇。

@lggychok1856 4 ай бұрын

心怡唱得好過燕姐梅雪詩，好喜歡，穎倫拍心怡才多人看！❤❤

@manfungau1948 4 ай бұрын

他倆自小相識學戲, 心怡早期演出, 主要都是和阿倫拍檔演出, 所以兩人很有默契, 演出很自然也好看。心怡是燕姐的徒弟, 她唱腔發口頗像燕姐, 但聲底卻有相當先天的因素, 至於是否好過師傅和嗲姐, 就不好說了。

@andrewtam3185 5 ай бұрын

from 編劇 perspective: 戲劇若要發展和長青, 其主題必須與時並進, agreed; we chatted before: not those unbelievable stories/ plots or those only dedicated to help certain artists to demonstrate his skills and talents (thus restricting plot/story development) for various purposes - i don't want to mention names again

@annieu30 5 ай бұрын

Cantonese Opera are mostly old plots from Court, love stories, fairy tales etc. We have been accepting their tends of development years ago. The renowned 唐 script writer tailored all his stories based on the players character to develop his plot on scripts. We have been watching his scripts in areas where people are interested in Cantonese Opera all over the world. Can we change the audience towatch newly written scripts? China has been working hard to modernize the scripts , is it successful ? Did you watch 廣東省或深圳團？It is good comparison and knowledgeable! As for HK, 謝小姐 has tried to write scripts and brought in new ideas for Cantonese Opera. Has it been recognized ? Just noticed she played in 唐 scripts also !

@andrewtam3185 5 ай бұрын

I think I understand where you are coming from. My response is: (a) yes, too some extent, people are familiarized with those themes/plots, and to a great extent socialised into it meaning believing 粵劇 is like that, must be based on /include as a key theme love stories etc (i am not talking about some worship certain artists, another issue). (b) but from a higher level perspective, this is more a generational issue. I am in my 60s, those preferences belong to my parents' and grandparents' generations, I am already different and i believe the world keeps changing. Basically, there should not be a fixed genre/format for粵劇 stories/plots in that direction. Right now, it is still heavily influenced by tradition - but generational changes have been happening, slowly though. Once my generation or older generations are gone, i dont expect that tradition will carry much weight BECAUSE there is no more socialization, teaching people to accept that tradition. (c) modernize the scripts , 廣東省或深圳團？In HK, may not be successful and you, me and others may not like it (preferences only) but those plays are welcome and well-attended (I dont want to judge on quality and taste of audience - all very subjective). At least they tried including modern 粵劇; (d) also, since 1970s, 粵劇 are not totally based on/focused on Court, love stories, fairy tales; look at Lam Kar sing's; many historical, not courtly, stories stressing heroism, humanity etc. (e) , 謝小姐 has tried to write scripts and brought in new ideas for Cantonese Opera. who knows what holds for the future? I am no prophet. I am not trying to argue but my point is progress, development and ever-green is essentially organic - part of growth, inevitable and should be encouraged and facilitated 發展和長青, if we want a future for 粵劇, not to be fixated on our preferences, tradition. Look, 1930s and 40s 粵劇 were kind of different from 1950s and 1960s (i am not saying good or bad, but there had been changes, but not major ones I have to admit. Sorry for my long-winded comments @@annieu30

@andrewtam3185 5 ай бұрын

also, FYI - i do have some understanding of this sector: i have gone through some but short term personal/private 粵曲program; my father befriended some older 粵劇 artists/performers in 1950s, so got some insights into this field ,@@annieu30

@manfungau1948 5 ай бұрын

Yes, we can change the audience to watch newly written scripts, but the main point is, can we write a new script to reflect the Zeitgeist? I don't think the troupes from Canton are successful, because they have thought limitations. 謝小姐, I don't want to comment on her.@@annieu30

@annieu30 5 ай бұрын

I watched 大龍鳳with my mom, where I came from. I am staying in N. America. Watched a lot of HK and China Cantonese Opera in recent years. Conclusively speaking, audience, even in China are in favor of 帝女花，鳯閣, even overseas. Not 林？林is too one man show ! Dominated character lacks group operation etc. We are just talking casually , not commenting as we are just audience. Watched Cantonese Opera, especially in China , you can have a glimpse what the trend of change is operation. HK did not do much in this respect. Care has to be taken for the ticket sale to cover the expensive costs of a troupe ! HK has to avoid 武埸，文武生aging , 一字馬都唔掂！水髮？ And yet they like to perform their weakness all the time !