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什么是话剧的民族化?概括地说,话剧民族化的灿烂之花,需要得到两种养料的滋补:一是民族的生活,二是民族的美学。前者主要体现在话剧所反映的内容上,后者已经涉及到了它的表现形式。现在,对于民族化的第一个要求,看来意见比较一致了。但对于中国话剧的民族化,是否必需走学习戏曲这条路,意见却是有分歧的。我个人的看法是,中国话剧十分需要得到民族美学的营养,话剧学习戏曲,应该是话剧民族化的必由之路。从理论上说,各种形式的中国民族传统艺术,其美学原理都是相通的,作为一门综合艺术的戏曲,则无疑是更集中地体现了我们民族美学的精华。著名国画家李苦禅积半个世纪的创作实践,得出了一个深有见地的结论:“中国写意画是高度的画。京剧是写意的戏,高度的戏。画国画一定要知京剧。”(《北京戏剧报》1981年第36期)国画家尚且一定要借鉴戏曲,有志于话剧民族化的艺术家当然更有必要
What is nationalization of drama? In a nutshell, the splendid flower of drama nationalization needs to be nourished by two kinds of nourishment: one is the life of a nation, and the other is the aesthetics of the nation. The former is mainly reflected in the drama reflects the content, which has been related to its manifestations. Now, the first request for nationalization appears to be more consistent. However, for the nationalization of Chinese drama, whether it is necessary to take this road to study opera, opinions are divided. My personal view is that Chinese drama needs to get the nutrition of national aesthetics. Drama learning drama is the only way to dramatization. In theory, all forms of Chinese traditional arts have their same aesthetic principles. As an opera of integrated art, it undoubtedly more closely reflects the essence of our national aesthetics. The famous painter Li Kuchan plot creation of half a century of writing practice, came to a deep insightful conclusion: "Chinese freehand painting is a high degree of painting .Beijing opera is a freehand play, a high degree of drama. Beijing Drama Newspaper, 1981, No.36) Chinese painters still must learn from traditional Chinese opera, of course, artists interested in the nationalization of drama are of course more necessary