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本文立足于“诗性”视角 ,对“国剧运动”主将余上沅与西方戏剧理论家布莱希特之关系作了再评价 ,揭示两者从中国古典戏曲出发 ,对戏剧的诗性内涵、诗性特质和诗性功能的不同选择 :前者将“诗性”阐释为形式的、由和谐营建的具慰藉意义的纯美空间 ;而后者则将“诗性”扩展至内容的、由矛盾生发的具批判意义的存在之思。在此基础上 ,本文旨在探讨中西比较视域中中国当代戏剧美学的发展。
Based on the poetic perspective, this essay re-evaluates the relationship between Yu Shangyuan and Brecht, a Western theater theorist, in the period of the “National Movement”, revealing both the poetic connotation and poetry Sexual traits and poetic functions: the former interprets the “poetic” as a form of pure space of comfort and comfort created by harmony; and the latter expands the “poetic” to the content by contradictions Criticism of the existence of thinking. On this basis, the purpose of this paper is to explore the development of Chinese contemporary dramatic aesthetics in the perspective of comparative Chinese and western cultures.