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戏曲,是社会审美意识转变中的一块魔方。不同的社会审美意识,就会产生出不同的戏曲形态:元杂剧之不同于明传奇、明传奇之不同于清代“花雅”、而清代“花雅”又不同于今天的现代戏,其缘盖出于此。而现代戏的形态也不是一成不变的,它将“与世推移”。本文仅就现阶段现代戏形态的一些变化趋势和流向,作一个极为简略的概观: 一、现实化中国戏曲是古典型的浪漫主义艺术,它总是表现出既崇尚理性又要求强烈反映主观意愿的特点。这就决定了戏曲往往借用神怪、离奇、幻想、巧合、虚假、罕见的故事,来隐讳地、间接地反映现实生活。一个有趣的事实可以说明:戏曲的成熟与鼎盛是元、明、清时代,而剧目题材却以“唐三千、宋八百”居多。可见,传统戏曲大多喜欢在远去了的前朝古人和虚幻的天庭神怪、阴曹鬼魅中去搜寻戏料,而不愿意把触角直接伸进自己生活的时代里。远离现实生活的表现内容随之
Opera is a magic cube in the transformation of social aesthetic consciousness. Different aesthetic consciousness of society will produce different forms of opera: the drama of Yuan Dynasty is different from that of Ming Dynasty, the legend of Ming Dynasty is different from the elegant flower of Qing Dynasty, and the elegant flower of Qing Dynasty is different from the modern drama of today Edge cover for this. The form of modern drama is not immutable, it will “change the world.” This article only makes a very brief overview of some trends and trend of modern theater states at present: First, the realistic Chinese opera is a classical romantic art, which always shows both advocating rationality and strongly reflecting subjective wishes Features. This determines the drama is often borrowed strange gods, bizarre, fantasy, coincidence, false, rare story, to implicitly and indirectly reflect the real life. An interesting fact can be explained: the maturity and prosperity of the operas are Yuan, Ming and Qing dynasties, while the themes of drama are mostly “Tang 3000 and Song 800”. It can be seen that most traditional operas like to search drama in the distant ancient ancestors and illusionary heavenly ghosts and ghosts rather than directly into their own life. Content away from real life content