五女拜寿

分类:剧情片戏曲剧情 地区:中国大陆 年份:1984 导演:陆建华于中效 主演:董柯娣徐爱武何英方雪雯茅威涛何赛飞陶慧敏周美姣邵雁吴海丽陈筱珍应惠珠傅江风江瑶王连琴俞会珍洪瑛陈辉玲盛建丽吴洁夏赛丽 状态:HD

简介:明朝嘉靖年间,户部侍郎杨继康(董柯娣 饰)因不满朝内奸臣严嵩专权,借口年事已高,欲告老还乡。在他六十寿辰之际,众女儿及夫婿前来拜寿,并争相提出养老送终。三女杨三春(何英 饰)携夫婿邹应龙(方雪雯 饰)
  • sdm3u8
  • snm3u8
  • zuidam3u8
  • wjm3u8
正序
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     明代嘉靖年间,户部侍郎杨继康,因对严嵩专权不满,欲告老还乡,他六十寿诞之期,众女儿女婿奉厚礼进京拜寿,并争迎二老去安度晚年      贫寒的三女杨三春偕胸怀大志的女婿邹应龙前来拜寿却受到冷遇      二姐双桃恃宠欺凌,并挑唆杨夫人将三春夫妇赶出杨府      杨继康的族弟杨继盛诛奸未成,反遭屈斩,株连杨继康削职抄家,逐出京都      顷刻之间,阖家逃散,骨肉分离      只有婢女翠云仗义相伴二老千里投亲      不料二女双桃,见二老落魄,拒绝奉养      同窗兼亲家陈松年惧怕严嵩淫威,也不敢接纳,大女婿,为图飞黄腾达,竟认严嵩为义父      杨继康夫妇和翠云流落街头,濒于绝境,巧逢三女杨三春,将二老接回家中,悉心侍奉,使二老温暖无比      三年后,三女婿邹应龙出仕朝堂,施计斗倒严嵩,杨家冤案昭雪,适逢杨夫人六十寿期,众女婿又前来拜寿,杨老夫妇逐走寡廉鲜耻的大女婿      唯利是图的二女双桃,见二老已将患难相从的翠云收为义女,无地自容,羞愧离去      亲家陈松年也前来赔礼道歉      杨家经受了一场兴衰荣辱的变迁,寿堂上呈现出一派乐享天伦的动人景象      选段:《拜寿堂老母偏心》杨继康:你们夫妻从哪里而来,这一向家境可好啊      邹应龙:(唱)想先父两袖清风一身清, 蒙岳父践约成婚配千金       数年来草堂授课南京郊, 娘子她针线助我读书文       叹去岁赴考名落孙山外, 空辜负立志报国一片心       是娘子屈指算来寿期到, 因此上双双拜寿到府门      杨继康:却也难为你们了      杨夫人:拜寿、拜寿,一双空手,成何体统      三春:爹爹母亲啊—— (唱)与官人专程拜寿心意诚, 空手而来有内情       女儿我夜夜千针与万针, 为娘寿鞋两双早绣成       只道是千里来把鹅毛送, 礼薄情重奉严尊       谁知晓昨夜郊外投宿店, 可恨窃贼盗衣银       身无分文缓步走, 一路安慰我官人       只要人到心意到, 定能得父母原谅两三分      (注:从左至右阅读,以上参考资料)职位人员导演张骏声(执行)、於爱如、王世菊编剧顾锡东作曲樊润河、何直伟美术设计罗志摩服装设计 余芳化妆设计 蓝玲(以上参考资料)剧中人表演者父亲杨继康董柯娣(B组陈亚敏)母亲杨夫人徐爱武大女儿杨元芳周美娇(B组盛建丽)大女婿俞志云邵雁二女儿杨双桃吴海丽二女婿丁大富陈筱珍(B组赵小珍)三女儿杨三春何英(B组应慧珠)三女婿邹应龙方雪雯(B组江瑶)四女儿杨四香应慧珠(B组何英)四女婿陈文新傅江风五女儿杨五凤陶慧敏(B组何赛飞)五女婿陈文华江瑶(B组朱玉芬)邹士龙茅威涛(B组夏赛丽)翠云何赛飞(B组陶慧敏)陈松年(亲家公)王连琴(B组王玉燕)陈夫人(亲家母)俞会珍春兰洪瑛夏莲陈辉玲秋菊吴洁冬梅盛建丽老家人王玉燕钦差陈亚敏(以上参考资料)剧中人角色行当角色杨继康张派老生户部侍郎,因对严嵩专权不满,欲告老还乡,他六十寿诞之期,众女儿女婿奉厚礼进京拜寿      大女婿俞志云徐派小生为图飞黄腾达,在岳父杨继康被削职抄家后,竟认严嵩为义父      二女儿杨双桃吕派旦角恃宠欺凌杨三春,并挑唆杨夫人将三春夫妇赶出杨府      三女儿杨三春傅派旦角家境贫寒,偕胸怀大志的丈夫邹应龙前来拜寿却受到冷遇      三女婿邹应龙范派小生胸怀大志,前来岳父家拜寿时却因家境贫寒而受到冷遇      翠云张派旦角杨家婢女,在杨继康被削职抄家后,只有她仗义相伴二老千里投亲      (以上参考资料)时间奖项名称提名/获奖提名/获奖方1983年浙江省首届戏剧节“优秀演出奖”获奖《五女拜寿》1984年文化部、中国剧协颁发的全国优秀剧本奖2009年文化部“优秀保留剧目大奖”(以上参考资料)《五女拜寿》剧中的邹应龙、杨继康史有其人      严嵩的倒台确与邹应龙有关,该剧却纯系虚构      顾锡东爱听苏州评弹,苏州评弹中有段故事叙说邹应龙的岳父受牵连被罢官抄家,两个女儿对父亲两种态度,给了顾锡东以启发      同时,该剧也受到了莎士比亚《李尔王》的影响      但是,该剧最初的创作动机和灵感却来自于顾锡东因“文化大革命”发生前后的某些感触      顾锡东为了培养演员,使她们都能得到舞台锻炼,在这出戏里描写了众多的人物形象      该剧中出现了六小生、六花旦,这在越剧史上是罕见的      这六小生、六花旦各有不同的流派唱腔      如大女儿唱戚(雅仙)派,大女婿唱徐(玉兰)派,二女儿唱吕(瑞英)派,二女婿唱尹(桂芳)派,三女儿唱傅(全香)派,三女婿唱范(瑞娟)派,四女儿唱傅(全香)派,四女婿唱尹(桂芳)派,五女儿唱王(文娟)派,五女婿唱尹(桂芳)派,翠云唱张(云霞)派,邹士龙唱尹(桂芳)派      1984年,浙江省文化厅从全省各个团选调了28位演员排演《五女拜寿》      《五女拜寿》突出的成就首先表现在剧作通过杨继康夫妇的一段人生遭遇揭示了某种人生真谛      富贵与贫穷、冷漠与温情、势利与宽容,世态的炎凉、人情的冷暖、人性的美丑通过杨家从发达坠入衰落而后又重新崛起转变都得到了鲜明的展现,引起观众的冷静思索      《五女拜寿》的故事情节显然借鉴莎士比亚的《李尔王》,编剧从莎士比亚那里借得一个故事轮廓,再填上中国人的纲常伦理,就成了《五女拜寿》      故事虽然简单,但情节尚称饱满      故事起伏有秩、有主有支、有定有变,突现了以抒情见长的越剧被磨灭了的叙事能力      《五女拜寿》的故事所传达的道德批判主题相对而言显得有些俗套,但是它非常切合普通老百姓的认知水平和欣赏趣味,显然不能因为情节的通俗便否认剧作本身的价值      (《戏曲鉴赏》评)

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