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张庚提出中国戏曲“自成体系”,与希腊悲喜剧、印度梵剧并称世界三大古老戏剧文化。黄佐临漫谈“戏剧观”涉及梅兰芳、斯坦尼斯拉夫斯基、布莱希特。后来,演变成了所谓“梅兰芳体系”,进而取“中国戏曲体系”而代之。其实,不大科学,大不科学。因为,恕村野直言:即使只在京剧界,梅兰芳再“佛光普照”,也不能一统江山。重新审视新中国建国十七年是否“黄金时代”,我们便可发现:与梅兰芳“相
Zhang Geng put forward the Chinese drama “self-contained system”, and the Greek tragedy and comedy, India Van Gogh and said the world’s three major ancient theater culture. Huang Zaolin talk about the “dramatic concept” Involved Mei Lanfang, Stanislavski, Brecht. Later, it evolved into the so-called “Mei Lanfang system,” which in turn replaced the “Chinese opera system.” In fact, not big science, unscientific. Because, Shu MURUNO bluntly: Even in Beijing Opera, Mei Lanfang and then “Buddha light shines,” can not be dominated. A re-examination of whether or not the seventeen-year history of the founding of People’s Republic of China was a “golden era” reveals the following: