论文部分内容阅读
本文是对《戏剧艺术》2009年第3期吕效平先生文章《论戏剧不可或缺的个人性、精神性和悲剧性与喜剧性》的商榷。文章认为,新编京剧《廉吏于成龙》承继的是中国戏曲传统的规律、理念和思维方式的艺术品,不是西方式的话剧,吕文用黑格尔关于正剧的理念来评价中国当代的戏曲,显然并不合适,不必把中国京剧装进黑格尔“正剧观”套套。《廉吏于成龙》的戏剧冲突是追求更高层次的性格冲突方面的成功实践,创作者的聪明和高明之处,正是在善于运用和推进性格冲突而不是推进事件来完成创作过程。《廉吏于成龙》不是“平庸”之作,硬用黑格尔的戏剧观来衡量和评价中国当代京剧,这是一种对西方的文化臣服,这种“平庸”的研究读不懂《廉吏于成龙》。
This article is a discussion of Mr. Lu Xiaoping’s article “On the Indispensable Individuality, Spirituality, Tragedy and Comedy” of Theatrical Art. The article argues that the newly compiled Beijing opera “Lian Li Yu Lianlong” inherits the works of the traditional Chinese laws and concepts and modes of thinking of the traditional Chinese opera. It is not a Western-style drama, and Lu Wen uses Hegel’s idea of the drama to evaluate contemporary Chinese Opera, apparently not suitable, do not have to put China Beijing Opera into Hegel “drama concept ” sets. The dramatic conflict of “Lian Li Yu Cheng Long” is the successful practice of pursuing a higher level of personality conflict. The cleverness and cleverness of the creators precisely completes the process of creation by using and promoting personality conflicts rather than promoting events. “Lian Li Yu Cheng Long” is not a “mediocre” work, hard to use Hegel’s drama view to measure and evaluate contemporary Chinese opera, this is a kind of Western culture, “ Do not read ”honest officials in Jackie Chan."