Saturday, November 2, 2013



對粵劇歷史稍有認識的人都應該知道「文武生」是二十世紀二十年代的產物,跟任何一種文化產物一樣,「文武生」這行當不是一個全新的東西,而是根據已存在的行當衍生出來的,而且受近百年來不同因素的影響(如演員、演出習慣、觀眾、劇目、業內運作、經濟等),「文武生」這行當的含意亦有不同。一個看似很簡單的問題,一個我在訪問時通常會問的問題:「你認為怎樣才能成為一位文武生?」,我得到的答覆已經讓我不能再用一年半前dissertation proposal (論文計劃書)上簡單的一句「結合小生、小武的行當」去理解我研究的對象。其實,這個「你認為怎樣才能成為一位文武生?」的問題是一個open question,沒有對與錯,也沒有誰的答案更好或更對,其實每個答案都在反映粵劇現在或近代的狀況,所以我也希望更多人可以告訴我他們會怎麼回答這問題,謝謝!

1 comment:

  1. Sorry too lazy to write in Chinese after the Japanese class - Just some initial thoughts as a teaser:
    The answer to your question really depends on which dimension the answer-provider is taking. Some may speak on the technical side, some others on the qualities or attributes that make a good wenwusheng. Some others may even say the role genre itself does not make sense because few people can really master the artistry of both wen and wu sheng. The more I watch Cantonese opera, the more I think so. This role genre doesn't really make sense. As far as I have been, there is no true wenwusheng who can master both genres. At best, each one of them has actually specialised in one or two sub-division of either genre or both. To make me sound really harsh, they are not the all-rounded wenwusheng by definition - though on paper.