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和世界上任何一种戏剧形式一样,中国戏曲也不能脱离其审美主体(观众)而孤立存在。观众的审美心理状态是戏曲创作需要重点考虑的要素。基于这样的认识,我们才能去专注思考怎样在保持戏曲本体特征的前提下,寻找到戏曲舞台与观众审美的最佳交汇点与契合点。而对观众接受心理的分析则是这种寻找的前提。
Like any other dramatic form in the world, Chinese opera can not exist in isolation from its aesthetic subject (audience). The audience’s aesthetic psychology is the key factor that the opera needs to consider. Based on this understanding, we can concentrate on thinking on how to find the best meeting point and meeting point for the drama stage and the audience’s aesthetic under the premise of maintaining the characteristics of opera’s ontology. Psychological analysis of the audience is the premise of this search.