名字：朱家乐
鉴赏项目：京剧
语录：一段花腔婉转的唱词，一篇死别生离的曲艺。
京剧的介绍（Introduction of Beijing Opera Song）
京剧是中国影响最大的戏曲剧种。它的分布地以北京为中心，进而遍及至全国各地。早自清代乾隆五十五年（1790年），原本在南方演出的三庆、四喜、春台和春斑四大徽班陆续进入北京，并与来自湖北的汉调艺人合作。通过不断的交流以及融合，双方接受了昆曲和秦腔的部分剧目、曲调、表演方法以及一些地方的民间曲调，最终才形成了京剧。
京剧的唱腔属板式变化体，是以二簧和西皮为其主要声腔。至于可分为文场及武场的伴奏，文场以胡琴为主奏乐器；武场则以鼓板为主奏乐器。关于京剧最广为人知的角色——“生”、“旦”、“净”、“丑”，“生”指男性角色、“旦”指女性角色、“净”指性格、品质或相貌等具有突出特点的男性角色、“丑”则指扮相不俊美的角色。
Peking Opera is the most influential Chinese Opera. It arose in Beijing and spread gradually throughout China. In 1790, the famous four opera troupe, SanQing, SiXi, ChunTai and ChunBan moved to Beijing in order to perform. During their performance life in Beijing, they collaborated with the artists of Han Opera and this collaboration formed the merging of them with KunQu Opera, Qin Opera and also some folk tunes. In the end, Peking Opera came into being.
The singing of Peking Opera has a change in style which uses ErHuang and XiPi as their main vocal music. As for the accompaniment, the civilian stage uses wind instruments and also stringed instruments while the acrobatic fighting stage uses percussion instruments. Although there are several types of roles in Peking Opera, the most well-known ones are ‘sheng’, the male role, ‘dan’, the female role, ‘jing’, the male role with outstanding characteristics and ‘chou’, means clown.
鉴赏与心得 （Art Appraiser and Reflection）
李泽厚先生认为，只有把审美、艺术和历史的发展联系在一起，才能真正理解中国古代艺术的美。我想，这或许就是现代年轻一辈鲜少对京剧产生浓厚兴趣的原因吧？大多数的年轻人从未尝试了解京剧，以致于一提到京剧，他们的脑海里想的尽是一连串极高音的怪腔怪调。这样的现象全都是因为缺乏审美能力的年轻人无法理解京剧的美所导致的。
年轻人总觉得京剧这个领域离自己所处的二十一世纪很遥远，其实不然。事实上，京剧剧目的由来有相当大的一部分是来源于人们所熟知的四大名著，《三国演义》、《水浒传》、《西游记》以及《红楼梦》当中的桥段。不仅如此，我所表演的《嫦娥奔月》亦是家喻户晓的神话故事，可见京剧其实离我们并不远。
《嫦娥奔月》讲述的是嫦娥在偷吃了后羿的不死药成仙后，独自一人在月宫中饱受孤独的生活，而我这次所表演的唱词仅概括了嫦娥在月宫中暗自神伤的部分。首先，唱词中的前半段是以缓慢而忧伤的情绪来演绎的，而该段唱词所要表达的是嫦娥认为自己无法再回到从前，因此只能看着他人在月圆之夜寄语声声，自己寂寞地起舞的一个情景。接着，后半段的唱词演绎开始由缓而急，讲述了嫦娥后悔吃下不死药的心情。最后，随着唱词到了尾句，节奏又再一次缓了下来。这样的编排可以让听者感受到嫦娥的情绪起伏以及最终事已至此，只能夜夜对着无穷无尽寂寞的无奈。
Mr. Li Ze Hou believes that once we relate the development of aesthetics, arts and history, we will be able to understand the beauty of ancient Chinese art. Perhaps, this is the reason why youngsters nowadays do not have much interest in Peking Opera. Most of the youngsters never even try to find out the background of Peking Opera. Once we mentioned it, the first reaction of the youngsters is imagining the strange singing in a high pitched voice. This kind of phenomenon is due to the lack of aesthetic ability among the youngsters that makes them unable to find out the beauty of Beijing Opera Song.
The youngsters always think that Peking Opera is way too far away from the 21st century. In fact, most of the repertoires of Peking Opera were from the Four Classic Novels of Chinese Literature, namely: <Romance of Three Kingdoms>, <Water Margin>, <Journey to the West> and also <A Dream of Red Mansions>. Moreover, what I have performed - <Chang E Flies to the Moon> is also one of the well-known Chinese Legends which means that we might have already known about the stories since childhood.
<Chang E Flies to the Moon> was about the main character Chang E, who sneaked Hou Yi’s elixir and ended up living alone on the Moon for the rest of her life. The lyrics of my performance narrated the condition of Chang E living on the Moon. In the beginning, my performance was in a sentimental mood where Chang E felt sad because she would not be able to turn back the clock. She felt deserted when she looked at the people sending festival greetings during Mid-Autumn. Therefore, she danced on her own. When it came to the climax of my performance, the rhythm accelerated in order to portray how regretful she was for sneaking the elixir. In the end, the rhythm decelerated once again in order to bring out the hopelessness of Chang E.
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