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中国戏曲悲剧因为追求“团圆之趣”就最缺乏悲剧的观念吗?不然。中国戏曲悲剧追求“团圆之趣”,不但是中华民族的审美需要,而且是中国戏曲悲剧不同于西方悲剧的独特特征。真正的中国戏曲悲剧的大团圆对于中国戏曲悲剧来说,决不是强弩之末,决不是“俗套”,而是中国戏曲悲剧的内在主题的完成和深化,是悲剧人物的性格和品格的深化和发展。一中国戏曲悲剧的大团圆这种艺术延展不但是现实生活的集中反映,而且是现实世界的必然延伸。它深化和发展了悲剧人物的性格和品格。从中国戏曲悲剧的大团圆三种比较典型的类型中,都可以看出。一是精卫填海式。这种类型以关汉卿的《窦娥冤》为代表。《窦娥冤》的
The tragedy of Chinese drama because of the pursuit of “the joy of reunion” most lack the concept of tragedy? The tragedy of the Chinese drama The pursuit of the “reunion of interest” is not only the aesthetic need of the Chinese nation, but also the unique trait of the Chinese drama that is different from the tragedy of the West. For the tragedy of Chinese opera, the happy reunion of the real tragedy of the Chinese opera is by no means a cruel one. It is not the “stereotyped” but the fulfillment and deepening of the intrinsic theme of the tragedy of Chinese opera. It is the deepening and development of the tragedy’s personality and character. A great reunion of the Chinese drama tragedy This art extension is not only a concentrated reflection of real life, but also a necessary extension of the real world. It deepens and develops the character and character of the tragic figure. It can be seen from the three typical types of happy reunion of Chinese drama tragedies. First, Wei-Wei reclamation. This type of Guan Hanqing “Dou E injustice” as the representative. “Dou E injustice.”