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我国戏曲导演艺术,经历了上世纪50年代的“戏改”、60年代的现代戏、70年代的革命现代京剧三大实践的酝酿期,在新时期导演中心制确定后得以长足发展,并有着质的飞跃。戏曲导演艺术于新时期的崛起,其机缘有三:一、得改革开放之天时、观众危机、剧人求变之地利,人才优化组合之人和;二、主体意识的觉醒,即导演认知的提高、素质的升华和观众意识的强化;三、得益于理论的滋养,对戏曲本体美学精神有了普遍的领悟与开发。对于
The drama director art of our country experienced the brewing period of the three major practices of “drama change ” in the 1950s, the modern drama in the 60s and the revolutionary modern Beijing opera in the 70s. After that, There is a qualitative leap. The rise of opera director art in the new era, there are three opportunities: First, in the days of reform and opening up, the audience crisis, the dramatic changes in the land, the optimization of the combination of people and; Second, the awakening of the main body of consciousness, Enhance, sublimation of quality and strengthening of the audience awareness; Third, thanks to the nourishment of theory, there is a general comprehension and development of the aesthetics of the opera’s ontology. for