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近日重读《李笠翁曲话》,得益匪浅。作者李渔是清代著名剧作家、戏剧评论家,今年是他逝世的三百周年纪念。《李笠翁曲话》就是他的一部戏剧理论专著。他在书中提出了一个很重要的问题,那就是剧作者如何掌握戏剧艺术规律,如何熟悉舞台、熟悉演员的问题。这是关系到一个剧作艺术上得失成败的关键,很值得我们加以重视。戏剧文学与其它文学样式不同,剧本中的故事情节、人物性格必须通过演员在有一定时间、空间限制的舞台上用表演、念白和歌唱传达给观
Recently reread “Li Wenguang melody,” benefited a lot. Author Li Yu is a famous dramatist and theater critic in the Qing Dynasty. This year marks the 300th anniversary of his death. “Li Yang Weng Qu Yuan” is one of his theatrical theory monographs. In his book, he raised a very important issue, that is, how the dramatist masters the law of drama art, how he knows the stage, and knows the actors. This is the key to the success or failure of an opera art, which deserves our attention. Drama literature is different from other literary styles in that the stories and characters in the script must be conveyed to the audience through performing, reading and singing on stage with time and space limitations