青艺剧场11【宋江怒杀阎惜姣】演出剧照分享…

dereklooch

我们增设了两个售票处如下：

1）Stella-In International, 4th floor, Gurney Plaza.

2) 变色龙，Kompleks Permata, Paya Terubung.

[ 本帖最后由 dereklooch 于 6-11-2005 12:38 PM 编辑 ]

dereklooch

我们的「宋江怒杀阎惜姣」与「水浒传」及京剧昆曲版本最大不同之处，是以同情女性的立场落笔。在章回小说与传统戏曲中，阎惜姣被刻划成一个不守妇道的淫妇与泼妇，为了与张文远做长久夫妻，不惜陷害待她母女恩重如山的宋江；为了阴间孤寂，不惜勒死心爱的三郎同赴泉台；她的行为，可说是相当自私。在我们的剧本里，她这些极端行为，至少有了相当程度的慰藉。在《卖身葬父》一场里我们知道她出身贫寒，自幼即在酒楼妓馆卖唱。她也有个少女的梦想，想嫁给一个玉树临风的穷书生，为他吃尽千辛万苦，挣钱供他苦读。最后他得中状元容归故里，与他生儿育女白首偕老，死后葬在一起，来世再为夫妻 ―― 完全是小时戏曲里的浪漫情节。结果为了葬父还债，委身作了比她父亲年纪还大的宋江的外室，这份梦想破灭的苦处，相信很多中国古今妇女均能深深体会。

结果阎惜姣弃宋江爱张文远，离开那个年过半百的糟老头子，爱上了「博采群芳」的花丛浪子，是我们可以理解的。阎惜姣另一弃宋爱张的原因是极端的寂寞。宋江性喜结交江湖弟兄，又爱排难解纷，在我们的剧中另有「荆妻孟氏」（「水浒传」中曾提及），留在乌龙院陪伴惜姣的时间就更少了。相反的，尚未娶妻的张文远风流倜傥，年纪与阎惜姣相近，又有大把时间殷勤陪伴，相信绝大多数女性都会对他动心。

「水浒传」与戏曲中对张文远着墨不多，在我们剧中却加添了许多「劣迹」。他的「定场诗」是「蝶攘蜂扰，平素爱占闲花草；莺飞燕舞，偷情那怕粉墙高？」充分表达他的个性行为。剧中数次「背供」，申明阎惜姣既非名门闺秀又无嫁妆，贞操又早就给了宋江，不是他成婚的对象；他之与阎惜姣来往，不过是贪图她「床第之间妙不可言」，希望多占一点便宜而已。《遇判申冤》一场，阎惜姣的阴魂巧遇阴曹判官，哭求拘取宋江阴魂抵命。判官一查「生死簿」，发觉宋江阳寿未尽且是星宿下凡，他日在梁山泊还有许多英雄事业。同时翻查张文远的「记录」，才发现他贪淫好色，前后勾引众多女性，其中还有两个黄花闺女遭他先奸后弃，两女之一还被她父母逼得悬梁自尽等等。判官认为如此登徒浪子，才理当拘魂受审。惜姣当然不肯下此毒手，对张文远的劣迹也是半信半疑；判官乃送她还阳，去到张文远书斋假扮另一美女向他勾引。张文远果然色心大动，虽则惜姣为他而死尸骨未寒，也欣然开门接纳。阎惜姣至此方才确信判官之言，乃在又恨又妒的心情下将张文远以「拘魂索」勒死，同归阴司受审。

Vengeance of Mistress Yen, differs from its Chinese sources in that it takes a sympathetic stance with our heroine. In the original novel and in other theatrical renditions Yan XiJiao is always portrayed as a slut and adulteress. In desperate attempts to make the relationship between herself and her lover a lasting one, she frames Song Jiang, the generous man who saves her and her mother from starvation. What is more, she is depicted as a selfish soul who would strangle her lover to death simply because she doesn’t want to be alone in Hades. But in this version of the story, there is a good reason for her behavior. As a singsong girl from a starkly poor family, she dreams that one day she would marry the good-looking scholar she loves. She would give him her hard-earned money to support him in his studies, so that he would return home one day with fame and fortune and they would live happily ever after. Her romantic illusions are shattered when she is forced into marrying the old man Song Jiang in order to pay the funeral expenses of her deceased father.

Song, on the traditional stage, is a dashing man, a foil to the scholar-rogue Zhang WenYuan whose nose is painted with a white patch symbolizing his clownish quality. It would have taken quite a bit of convincing for a contemporary audience to make Yan fall in love with Zhang and not Song. So, in our play, Song Jiang is portrayed as aging man who is physically unattractive and suffers from bad breath – not very much the ideal lover a young girl would dream of but closer to the description of him in the original novel. We have also changed the clownish makeup of Zhang WenYuan into one closer to that of a young lover; his white patch on the nose has now been replaced with a small, colorful butterfly symbolizing his philandering quality.

Another reason for Yan favoring Zhang instead of Song is that the latter is well known for his preoccupation with his friends and sworn-brothers. He already has a wife (mentioned in the original novel), so he cannot devote much time to his young mistress while, on the other hand, Zhang is younger, much more good-looking, and is willing to spend time in her company. It is very hard for her not to fall in love with this young suitor.

Not much is said about Zhang in the original novel and in other theatre versions. We have however added a number of faults to his character. In his first entrance his “set-the-scene poem” is descriptive enough: “Like bees and butterflies my pastime / is to pluck the honey of varied flowers; / to make a worthy conquest, I worry not / the distance traveled, nor the number of courting hours.” And in many of his later “asides,” he makes clear that his interest in Yan is nothing other than lust. In the later part of the play, when Yan’ soul wanders in Hades, she meets the Judge Supreme there and begs for justice to be done to Song Jiang her murderer. The Judge looks up the Book of Life and Death and discovers that time is not up yet for Song, but on the other hand, Zhang needs to be brought in for his seductions and ruining of innocent maidens. Yan would not do such a thing to her lover, nor is she fully convinced of his sins and crimes. So the Judge Supreme sends her back to the human world, in the guise of another woman to seduce Zhang. He falls into the trap, and is thus brought in by Yan for judgment in Hell.

dereklooch

宋江怒杀阎惜姣开演 热爱喜剧朋友必笑破肚皮
2005-11-6 19:38:04

（槟城6日讯）「水浒传」中的武松杀嫂，大家都知晓；宋江杀妾，可能你尚未听过，但却更加精彩，更加值得回味！一部不容错过的2005年大型古装疯狂喜剧「宋江怒杀阎惜姣」，将于12月2日至4日晚上8时30分在比南利剧场隆重上演！

这部由马来西亚华人文化协会槟州分会主催、槟城青年艺术剧团呈献的爆笑古装剧，肯定让您有惊有喜！热爱喜剧的朋友们，万勿错过此千载难逢的演出哦！

大会顾问拿督郭家骅行政议员于周六在一项新闻发布会上表示，青艺在槟州乃是一个非常出色的剧团，拥有一班优秀的导演及演员。他希望通过此项表演，能够提升槟州人民对于华人传统文化的兴趣，并借此吸引公众前来观赏这部佳剧。

制作人郑荣兴表示，「宋江怒杀阎惜姣」是一部老少咸宜及适合现代人观看的古装轻松喜剧，希望爱好戏剧的观众能够出席观赏，与众演员近距离交流，让观众深切体会戏剧的内涵。

导演卢志兴表示，「宋江怒杀阎惜姣」完完全全是一部现代舞台话剧，它将华人传统戏曲艺术与现代舞台剧结合为一，让观众深入了解华人优秀的传统表演艺术。

配合即将于11月26日（8pm）及27日（2pm及8pm）在同一地点即比南利剧场上演的「CHARACTER」一剧，凡乐捐28令吉，即可获得以上两部戏剧之入门票。

套票优惠的截止日期为11月19日。有兴趣观赏者，可联络赖文慧（016－4224836）和刘丽雯（019－4480103）。此外，您也可前往Stella-In International，4th Floor，Gurney Plaza或变色龙，Kompleks Permata，Paya Terubung索取入门票。

出席新闻发布会者包括郭家骅、郑荣兴、卢志兴、演员李于原、秘书倪开星、财政黄剑威、票务赖文慧、委员王俊宏及徐宗周。

http://www.kwongwah.com.my/kwyp_ ... 5116_26201&rt=N

[ 本帖最后由 dereklooch 于 9-11-2005 10:17 AM 编辑 ]

dereklooch

故事取材自「水浒传」中宋江，阎惜姣和张文远之间的三角关系，再以今日眼光重新诠释。这是一出以京，昆技艺来演绎的现代话剧，以色诱，通奸，谋杀为骨干，其中更有阴间的审判和女鬼的复仇。

「宋江怒杀阎惜姣」并不是一面倒为「淫妇――阎惜姣」翻案，也没有一味地反过来谴责「男人――宋江或张文远」的极坏。阎惜姣可怜可悯，通奸情有可原，但她自私地得寸进尺，抓住宋江暗助反贼的证据，要向官府告密，招致杀身之祸，也是咎由自取。事实上剧中男女没有百分白的好人和百分白的坏人，宋江是假仁义，张文远是真滚友，却不是真坏，总之机缘巧合，就酿成人性与社会性的杀人奇案，审死官也审不清谁对谁错。

「阎惜姣」的特色是吸取了京昆戏曲的剧情与形式，剧情上加入了「水浒传」小说所没有的女主角死后变鬼，遇判伸冤，向张文远试情索命；形式上则采用了没有歌唱的戏曲化，装扮、做手、锣鼓、布景、排场等等，象做「大戏」，但同时又是百分白的正式「话剧」。

「一部以华人传统戏曲程式表演的话剧」，这是一部特别适合现代人和不习惯看或听戏曲的新一代华人观看，既是奇情有趣的话剧，又能生动概括地展现华人戏曲基本程式，还有两个「解说者」在旁介绍搞笑，以「对口相声」的方式向大家讲述剧情有关但省略不演的片段，夹叙夹议，类似德国近代戏剧家布莱希特的疏离效果，以期观众作冷静的反省。全剧中更有中式挑情、谋杀、钟馗式的判官、艳鬼幽魂、复仇等等，丰富多姿。

这是一部古典戏曲与现代舞台剧的结晶体，让新一代华人重新认识华人优秀传统表演艺术的捷径。「宋江怒杀阎惜姣」可谓混合西方现代剧场、东方传统戏剧、古典戏曲和说唱文学的外貌和做法组成的舞台话剧。

It is a story in the famous Chinese novel “The Water Margin”, written by 15th century Chinese novelist Shi NaiAn, and was later translated by the Nobel Prize winner Pearl Buck as “All Men Are Brothers”. A “love triangle” among the three main characters of this play: Yan XiJiao, Song Jiang and Zhang WenYuan…However this “love triangle” is not much in the original novel, Mr. Daniel S.P. yang from Hong Kong has done some rewriting and addition of scenes for this “love triangle” story compared to the original novel.

With this rewriting and the addition of scenes, we feel that the earlier discomfort with the main characters and the progression of events have now been justified, and we have a more logical story in telling the life and death of this attractive heroine.

The most distinctive difference between this play and the traditional Chinese opera is the creation of two Narrators, one male and one female, each representing their own sex in explaining what goes on in our heroine’s mind and in the progression of events. They serve as the Property Men on the Beijing Opera stage, moving stage furniture and set new scene. In the form of the Chinese DuiKou XiangSheng （对口相声）, which is not unlike the Western standup comic routines, the Narrators explain the conventions of the Chinese theatre to the uninitiated. They relate untold stories, they enter conversations with main characters, and they serve as the inner conscience and inspirers to our heroine. Their functions are quite close to those of the Brechtian narrators in the Epic Theatre, as well as those of the Chorus and the Gidayu chanters in the Japanese Noh, Kabuki, and Bunraku theatres. This mixture of elements in the modern Western theatre and traditional Asian theatre with ample usage of conventions in the classical Chinese theatre and narrative literature is a bold attempt in this capacity as a playwright.

All in all, VENGEANCE is still a straight play without singing, although the movement patterns and percussive routines required are very much in the Beijing Opera / Kunqu Opera style. Its costume, accessories and make-up are also those of the traditional Chinese theatre. It calls for an empty stage without scenery, but its set design is very much Chinese in spirit. Modern theatre lighting is employed, but its execution enhances dramatic effects rather than compromising the suggestive style of the Chinese theatre. What we are proposing here may be helpful in developing a new form of theatre, which relates familiar Chinese stories to a modern audience without compromising either the original form of the modern sensibility.

dereklooch

阎惜姣        Yan XiJiao

(陈丽香饰) performed by Tan Lay Heong


出场时十八岁，第二场起二十一岁。面貌姣好，性情果断，兼具传统戏曲中“闺门旦”与“泼辣旦”的特质。第一、第五、第六场中的服装带“水袖”，又有一些“青衣”的意味。

(Mistress Yan), pronounced “Yan She Jow”, daughter yo Mama Yan, later Song Jiang’s kept mistress, age 18 to 21 as the play progresses. A combination of the “virtuous woman”, the “coquette”, and the “shrewish coquette”characters in the traditional Chinese theatre.

dereklooch

宋江                Song Jiang

(陈凉辉饰) performed by Tan Liang Hui

郓城县刑房书吏，六十出头，传统戏曲中的“老生”。

Pronounced “Soon John”, a court scribe in his early sixties. The “old male”character in the traditional Chinese theatre.

dereklooch

张文远        Zhang WenYuan

(郭云峰饰) performed by Keith Koay

虽仅有二十余岁，已是花丛老手。传统戏曲中的“方巾丑”，但须俊扮。

Pronounced “Zhang Wen Yuan”, a court scribe in his twenties, a junior colleaque and student of Song Jiang’s. The “comic scholar” character in the traditional Chinese theatre.

dereklooch

王媒婆        Matchmaker
(洪志腾饰) performed by Tom Ang

四十余岁，风韵犹存，传统戏曲中的“彩旦”。

A woman in her forties not unlike the Chinese version of Dolly Levy in Matchmaker.


阎婆                Mama Yan
(李廷谦饰) performed by Adie Lee

阎惜姣的母亲，五十几岁，传统戏曲中的“老旦”。

A widow in her fifties who has endured enough hardship to learn the way of the world. The “old woman” character in the traditional Chinese theatre.

[ 本帖最后由 dereklooch 于 8-12-2005 11:08 AM 编辑 ]

sinchanlah

难得的一次戏剧加相声加京剧等的演出!!!
支持一下吧!!!

dereklooch

阴曹判官        Judge in Hades

(李于原饰) performed by Ian Lee

相貌丑怪，体形畸异，颇有传说中捉鬼驱邪的钟馗意味，因此当然是戏曲中的“花脸”了。

A grotesque and mean-looking deity who is “larger than life” vocally and physically. The “painted face” character in the traditional Chinese theatre.

dereklooch

这项更改若有引起您的不便之处，敬请见谅。

希望大家不要因为这项公演日期的更改而放弃您对我们的支持，我们需要您的关怀与支持，让我们在马来西亚这么恶劣的环境里，继续推动剧场活动！

详情请参阅：

http://chinese.cari.com.my/myfor ... &extra=page%3D1

dereklooch

“「水浒传」中的
武松杀嫂,大家都知晓；
宋江杀妾,可能你不懂，
但却更加精彩,更加值得回味！”

一部不容错过的2005年大型古装疯狂喜剧“宋江怒杀阎惜姣”!

dereklooch

银河系剧团十周年纪念公演【Character】，成功落幕了，相当精彩的一部作品，恭喜银河系剧团的成功公演！我人在现场的两个晚上，也感染到银河系剧团的喜悦，而我们两个剧团首次推出“套票”的合作，为喜欢戏剧的各剧团朋友来说是一个惊喜与优待，反应不错，可算是好的开始，希望槟州剧团间来日还能有更多类似的合作空间！

谢谢大家对我们两个剧团“套票”的反应与支持，期盼12月中旬于同样的剧场与大家见面！

别忘了您手中“套票”的日期已经更改至12月16日，17日，18日啊！

原帖由 dereklooch 于 6-9-2005 11:35 PM 发表
青 艺 与 银 河 系 今 年 首 度 联 手 推 出 套 票 形 式 优 惠：

CHARACTER …… 票 价 RM15.00

宋 江 怒 杀 阎 惜 姣 ……  票 价 RM20.00

套 票 ……  只 需 RM28.00

（ 即 同 时 购 买“CHARAC ...

dereklooch

在【宋江怒杀阎惜姣】公演前，在此让大家多些认识与这出戏有关的一点一滴，好让大家走进剧场前有多些相关认识…

首先，大家是否有留意到“阎惜姣”服装有些怪怪的，与一般的戏曲花旦的服装有些异样呢？

根据【中国戏曲服装图集】，这种是“袄、裤、裙”（ jacket, trousers and skirt）的介绍如下：

类别: 戏曲服饰

这是戏曲舞台上扮演民间少妇、小家闺秀、小姐及丫鬟使女常用的服装。袄、裤、裙在地方戏剧中，尤其评剧使用最多。袄、裤、裙的色彩除了不准用明黄、杏黄色外，其它任何色彩都可使用，主要以绣花草为主。穿用人物有《花田八错》中的春兰和《坐楼杀惜》中的阎惜姣等。

在《花田八错》中春兰奉员外与安人之命，陪同小姐去花田赶庙会，借此机会为小姐选如意才郎。在庙会上，小姐看上了卖字书的才子卞机，命春兰丫鬟求卞机题诗，并说明回府禀明后差人接其进府。老爷出于爱才，同意接相公卞机进府。在接卞机过程中，出现了八次错误，故称“花田八错”。剧中的春兰穿袄、裤、裙。

《坐楼杀惜》中，宋江收留了卖身葬父的阎惜姣及其老母，从此宋江常去玩乐。后来，阎惜姣又看上了张文远，企图杀害宋江。恰在此时，阎惜姣看到了梁山好汉邀请宋江上山的密信。阎惜姣趁机逼迫宋江写退婚婚约，否则将宋江告到官府，宋江被逼无奈，将阎惜姣杀死。剧中的阎惜姣穿袄、裤、裙。





我们的陈丽香于剧中的饰演阎惜姣时所穿着的《袄、裤、裙》

dereklooch

宋徽宗宣和年间，朝政腐败，各地民不聊生，阎惜姣(李丽华)随父母自鲁西逃荒郓城，阎父经不起长途跋涉，病死客店。父死无以为殓，惜姣逼得卖身葬父；宋江(严俊)路过闻得哀音，动了恻隐之心，慨然济助。惜姣办毕丧事，亲向宋江献身；宋江遂买下乌龙院，与惜姣母女同住。宋江徒弟张文远(梅砚生)垂涎惜姣美貌，趁宋江公务在外，设计奸污惜姣。宋江回来误会惜姣与文远私通，向惜姣大兴问罪之师；惜姣为表心迹，死于宋江利刃之下。惜姣死後化成厉鬼，对文远穷追不舍……

以《万古流芳》于1965年获第十二届亚洲影展最佳影片奖的大导演严俊根据施耐庵着名章回小说《水浒传》第二十回「宋江怒杀阎婆惜」改编的黄梅调影片。出身梨园世家、主演过《观世音》、《万古流芳》等多部佳作，两届金马奖最佳女主角得主李丽华与当时真实生活中的夫婿严俊，主演了这部场景和服装设计精美、融合了情爱、背叛、谋杀、和复仇的故事。

dereklooch

解说者甲        Narrator A
(黄剑威饰) performed by Ooi Kiem Wooi

诙谐而不贫嘴，亲切而不狎慢，颇似高级夜总会的报幕者，兼任传统戏曲中的“检场”。

Who also functions as a “Property Man” in the traditional Chinese theatre, preferably male. Very much like an emcee in a night-club act, or the lesser-figure in a standup comedy team.


解说者乙        Narrator B
(赖文慧饰) performed by Lai Boon Hooi

同样人物，以女性为宜。

A second “Property Man”, preferably a female, definitely the smarter one on the team.

dereklooch

四小鬼        Four Junior Devils
（黄静育，李雪萍，陈伟良，魏梦羚饰）

一个掌灯，一个捧簿，一个持链，一个打伞，形状丑怪。

Smaller in size but equally menacing.




武场乐手        Musicians

(庄宇晨，陈亮财，骆俊彦，沈伟祥饰)

dereklooch

同样的经典故事，不同的演绎方式，同样的精彩不朽…

   

信报讯     在中国剧协主办的第八届中国戏剧节“都宝杯”小剧场演出季中，北京京剧院在首都剧场演出的小剧场京剧《阎惜姣》，在演出样式方面形成了两个“另类”——小剧场戏剧形态的另类和京剧演出形态的另类。而该剧的主演郭伟，把传统概念中的“坏女人”阎惜姣塑造得复杂而立体，让观众看了不由得会产生一种矛盾的心理，使这个人物成了第三个另类。

取材于京剧《坐楼杀惜》与昆曲《活捉》的《阎惜姣》，与那两折传统经典剧目有着本质的不同，整出戏的主角变成了阎惜姣，故事的主线也换成了演绎阎惜姣生生死死的情感历程。在传统戏里，宋江是大义的英雄，阎惜姣则是个狠毒的淫妇，而这出新《阎惜姣》却站在人性的立场上，用现代人的眼光对这个久已有了定论的女人进行了大胆的心理剖析。随着剧情的发展，观众看到了一个为报答葬父之恩而被包占的女人因情和不能摆脱社会制度的束缚，最后不惜采用最极端的手段要挟宋江，结果引来了杀身之祸。死后的灵魂因对恋人念念不忘又去寻找自己的情人，却失望地发现张文远不过是个无情无义的轻薄之人。这时的阎惜姣依然不愿放弃这段感情，于是又以色相勾引她的“三郎”，她似乎得到了她想要的一切，却忽然发现，连情人俊俏的外貌也变成了令人作呕的小丑模样。

虽然整出戏中只有三个人物出场，但紧凑的情节设计和人物间强烈的矛盾冲突却牢牢地抓住了观众的眼球。无论是郭伟饰演的阎惜姣、高彤饰演的宋江，还是包飞饰演的张文远，都不时博得观众的阵阵掌声与喝彩声。在他们的表演中，京剧传统的程式和技巧比比皆是，但又不乏传神的、生活化的现代表演手法。在阎惜姣与张文远偷情时，导演大胆地将写实的动作、舞蹈的语言，甚至暗喻的画面交融在一起，令观众感受到的是情爱的美，是阎惜姣的真情。也正因为如此，观众会站在她的立场上，站在她寻求爱情、追求婚姻自由的立场上，批判那个产生并保护买妾、纳妾、养妾、占有妾的封建制度，乃至流毒至今的封建观念。

《阎惜姣》的演出样式，采用了大量的舞蹈语汇；在音乐和伴奏方面，与《坐楼杀惜》、与现在“流行”的传统戏又有着不小的差别，多了几分昆曲的优雅。该剧的音乐、唱腔设计朱绍玉介绍说，这是对小剧场京剧音乐方面的一次探索。小剧场京剧场地小、观众与演员近在咫尺，太吵闹的音乐和文武场伴奏，效果反而不好。所以，他采用了京剧中不常用的古老的吹腔和?眼拨子?演，既是板腔体，听着又有些昆腔曲牌体的味道，对于表达凄美、飘零的爱情主题有着很好的烘托效果。

演出结束后，观众给予了比演出中更为热烈的掌声。一位年轻观众对记者说：“最强烈的感觉就是，这出戏变‘年轻’了，比较符合现代人的审美观念。另外，宋江杀惜的动机也更加合理，矛盾冲突的发展非常顺畅，服装也很漂亮。这出戏里，宋江只是一个普通的、有着封建观念、醋意浓浓又急于拿回‘通匪’罪证的男人；而删去了阎惜姣逼索百两黄金这一情节，改为她想攥着宋江的把柄以求自保不受报复，她的行为和被杀就全是为了情，而不再是因为贪婪，也就使她更值得同情。可以说，这出戏无论是内容还是表现方式，都可以和现在的一些先锋戏剧一较高下。”

sinchanlah

有兴趣的快买票吧

这是难得的全体照哦!!

dereklooch

若您对P.Ramlee剧场感到陌生，没有问题，我们在这里为您提供剧场的地图…

让您…
轻轻松松到达，
舒舒服服观赏！