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在1991年第六期的《中国戏剧》上,看到了阿甲的《京剧文学与京剧艺术的本质特征》一文,其中运用了“程式思维”这一术语。他在该文中论及京剧的程式和程式化时说:“戏曲的‘程式思维’是形象思维的特殊形式,京剧的‘程式思维’又是戏曲思维的特殊形式。”在讲到程式与生活的关系时,他进一步解释道:“所谓‘程式思维’的特殊体验方法,就是要求演员在分析剧中人物的时候,决不能离开生活的逻辑,机械地从程式出发,而是要依生活的逻辑,艺术地去提炼生活,把有程式性的形象的多个单元,依据角色的要求,再一次地分析
In the sixth issue of “Chinese Drama” in 1991, she saw an article entitled “The Peking Opera Literature and the Peculiarity of Peking Opera Art”, using the term “programming thinking.” In this article, he refers to the program and stylization of Peking opera: “The” program thinking “of the opera is a special form of image thinking and the” program thinking “of Peking Opera is a special form of opera thinking.” , He further explained: “The so-called” programmatic thinking "of the special experience is that the actors in the analysis of the characters in the play, must never leave the logic of life, starting from the program mechanically, but to life Logic, art to refine life, the stylistic image of the multiple units, according to the requirements of the role, once again analyzed