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一、写意与诗意许多戏曲评论文章在谈论当下某些剧目的舞台美术的艺术效果之时频频使用写意一词,其实大多是就它们写实化明显但似乎又取得诗意与富含意境的审美效果而言的。而写实化、舞台物质化的西方话剧同样能取得诗意效果,或者说话剧同样可以是诗意的(而且恰恰诗意化是话剧的很大的一个特征),任何艺术形式或艺术作品都有着诗意的追求,也都可以达到诗意的效果(在现代主义或后现代主义作品里则又有着“反诗意”的追求,但那是为解构而解构的需要,其前题恰恰承认了“诗意”的存在)。而独以“写意”来“规范”中国传统戏曲(并以“写实”一词涵盖西方话剧,以此相区别),必然有其独特的本体意义,决非仅仅以“诗意与意境”的审美效果可以填塞的。作为一个整体的美学原则,它应该有着自己的哲学基础与美学出发点。
First, the freehand brushwork and poetic A lot of opera commentary articles talking about the contemporary art of the stage art of some repertory frequently use the word meaning, in fact most of them are realistic and obvious but they seem to achieve the aesthetic effect of poetic and rich in mood Words. The realistic and stage materialized western drama can also achieve the poetic effect, or the drama can also be poetic (and just as poetic is a great feature of drama), and any artistic form or artwork has a poetic pursuit , But also can achieve the poetic effect (in the works of modernism or postmodernism there is a “anti-poetic” pursuit, but that is the need for deconstruction and deconstruction, and its preface precisely recognizes the existence of “poetic” . However, it is inevitable to have its unique ontological meaning by “freehand” to “regulate” the traditional Chinese opera (and to distinguish it from the Western drama by the term “realistic”), not by the aesthetic of “poetic and artistic conception” The effect can be padded. As a whole aesthetic principle, it should have its own philosophical foundation and aesthetic starting point.