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最近有机会读到美国出版的《大美百科全书》中有关“中国文学”、“中国戏剧”等条目的英文原著(此书国内现有,并不难得)。发现其中似是而非者有之,以讹传讹者有之,而荒诞不经以至于荒谬绝伦,令人不堪卒读者竟不下数十处。作为一个中国读者,感到实在有站出来说几句的必要。这里姑举“中国戏剧”一条中之最显著谬误者数处加以驳辨,以概其余。在这个条目一开头,就说到“中国戏剧”以“唱”为主,并且“唱”、“做”并重,这本不错。但其结论却是,中国戏曲最缺少的是“动”(actim)。这就使人莫名其妙了。谁都知道,中国戏曲是唱、念、做、打、舞兼备而并重的。
I recently had the chance to read the original English version of the article entitled “Chinese Literature” and “Chinese Drama” published in the United States in the Daisy Encyclopedia, which is not uncommon in China. Found that what seems right and wrong, there are false positives have, and absurd so absurd that it is unbearable readers do not actually dozens of. As a Chinese reader, I feel it is necessary to stand up and say a few words. Here are some of the most notable fallacies in the “Chinese drama” to be dismissed, to sum up the rest. At the beginning of this entry, it is good to say that “Chinese drama” is based on “singing” and that “singing” and “doing” are equally important. However, the conclusion is that ACTION, the most missing of Chinese opera, is “actim.” This is inexplicable. Everyone knows that Chinese opera is both singing, reading, doing, playing, dancing and both.