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面对戏剧,必然有一个观念的问题。有观点认为,定位到戏剧观,就“不仅是指舞台演出的手法,而且指对整个戏剧艺术的看法,包括编剧法在内。”(转引自《中西戏剧比较教程》)早有清人李渔将其戏剧论著《闲情偶寄》分为“词曲部”和“演习部”,便是一证。因此,关于戏剧批评,不再是单向度的,从点到点或从点到线,而是一个立体的方法论问题,既涉及到戏剧的本体观,也涉及到演艺的艺术观,既关乎到戏剧的文本、演绎效果,同样关乎到从传统沿习而
The face of drama, there must be a concept of the problem. The view is that the positioning of the concept of drama, “not only refers to the stage approach, but also refers to the entire theater art, including the view, including the screen law,” (quoted from the “Chinese and Western Drama Comparative Course” Li Yu will be his theatrical works, “Xianqing Ouji” is divided into “song department” and “exercise department” is a card. Therefore, the criticism of drama is no longer one-dimensional. From point to point or from point to point, it is a three-dimensional methodological issue that involves not only the ontology of drama but also the artistic view of performing arts. The text of the drama, the interpretation of the effect, the same concerns from the traditional along the Xi