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杨亚洲说:“经济文化的发展越飞速,越要呼吁一种平民文化的建设,这种文化作品不是怨天尤人,不是揭露社会的黑暗面,而应该是展现老百姓在困境下健康、快乐、充实的精神世界。”为此他坚守自己的艺术追求,关注原本的生活,讲述百姓的世界,这点尤其体现在他近年执导的两部电视连续剧《空镜子》和《浪漫的事》上。 现象学美学的观点认为:现象学不再以庞大的思辨体系来推演生活的逻辑,也不采用经验主义的归纳方法来解释生活,而是采用描述、本质直观等方法来还原生活世界的本相。通过对世界本原的描写使读者(观众)获得美的享受。 从这里我们可以看到,《空镜子》和《浪漫的事》的成功,契合了当代观众的现象学美学的审美需求,相比于宏大的叙事和高调的演绎,人们更期望看到生活场景的真实再
Yang Yazhou said: “The more rapid the development of economy and culture, the more we should call for the building of a civilian culture. This kind of cultural work is not a grudge against the dark side of society, but should be a manifestation of healthy, happy and fulfilling people in times of crisis Spiritual world. ”For this reason, he sticks to his pursuit of art, his original life and the world of people, especially in his two television series“ Empty Mirror ”and“ Romantic Events ”directed by him in recent years. Phenomenological aesthetics point of view: Phenomenology is no longer a huge system of thinking to deduce the logic of life, nor the use of empirical induction to explain life, but the use of description, the essence of intuition and other methods to restore the life of the world . Through the description of the original world to readers (audiences) to enjoy the United States. From here we can see that the success of “empty mirrors” and “romantic things” is in line with the aesthetic needs of phenomenological aesthetics of contemporary audiences, and people expect to see scenes of life more than grand narratives and high-profile deductions Real again