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古代文人戏曲家在促成戏曲艺术成熟与完善的同时,其固有的身份意识又使他们对演员艺人以及职业类剧作家采取了疏远与歧视的态度,造成了戏曲的文本创作与舞台演唱表演实践的分离;文人剧作家多以诗文家身份自居,创作以“曲意”表达为上,而对戏曲的舞台演唱要求多所漠视。本文在梳理戏曲家身份意识的产生与嬗变的基础上,探讨传统戏曲理论中演剧观念的生成情况,以期对古代戏曲的发展与演变特点加以新的揭示。
While promoting the maturity and perfection of the art of opera, the ancient literati opera artists have also taken an estranged and discriminatory attitude toward the performers and professional playwrights by their inherent sense of identity, resulting in the creation of texts and performances of stage performances Separation; the literati dramatist mostly as a poet and writer identity, creation to “song meaning ” expression as the top, and the stage performance of the opera more indifference. On the basis of combing the emergence and evolution of the identity of the opera composer, this article explores the generation of the concept of drama in the traditional opera theory with a view to revealing the characteristics of the development and evolution of the ancient opera.