论文部分内容阅读
中国戏曲的前途,是一个人们热切关心的现实问题。戏曲美学,又是一个人们热心讨论的理论课题。要把握住戏曲的前途和命运,必须正确认识戏曲的美学原则。从而,认识其发展规律,并顺应规律去因势利导。长期以来,人们总习惯于把“综合性”、“虚拟、程式、写意性”作为戏曲的美学原则来谈论。笔者认为,“唱做念打的综合化”、“虚拟、程式、写意性”等等只是戏曲构成的艺术方法,只是戏曲美学原则形成的物质媒介和逻辑直观基础。戏曲的美学原则应是:系统系列——超前式;美的创造——三维式;舞台形象——人格式;意蕴主调——美善式;系统运动——开放式。这五大美学原则的动力凝聚,便形成了戏曲美的本质:以人本位为根源的美善型感性形式。
The future of Chinese opera is a real issue that people are most concerned about. Drama aesthetics, but also a theoretical topic that people enthusiastically discuss. To grasp the future and destiny of opera, we must correctly understand the aesthetic principles of opera. Thus, to understand its law of development, and follow the law to take advantage of the situation. For a long time, people are always accustomed to talk about “comprehensiveness,” “virtuality, programming, and freehandness” as the aesthetic principles of drama. The author believes that the “synthesis of Singing, Kindness, Expression, Freehandness” and so on are merely artistic methods of composition of the opera. They are only the material media and logical intuition basis formed by the principles of opera aesthetics. The aesthetics principles of opera should be: System Series - advanced type; beauty creation - three-dimensional type; stage image - human style; meaning keynote - beauty type; system movement - open style. The dynamic cohesion of these five major aesthetic principles has formed the essence of opera beauty: a beautiful and sensual form rooted in the human standard.