古典韵致中的伦理思辨与情趣想象——从意指功能与审美效应看梨园戏《董生与李氏》的形式思维

• 作 者: 吴思富
• 机 构: 福建省艺术研究院,
• 出 处: 戏曲研究
• 发表日期: 2013年03期
• 关键词: 形式思维 董生 戏曲作品 审美效应 戏曲创作 合作制 传统戏曲艺术 程式性 当代文艺 孙绍振

戏曲作品本体主要就是指戏曲作品中的形式思维,既指涉剧本写作的人物设计、剧情构思、情节安排、细节设置等,也涵括舞台呈现的音乐、舞美、表导演等诸方面设计。由于中国传统戏曲艺术的程式性特征与剧种化传承,传统的戏曲艺术本体通常只是指剧种的艺术特征,但随着戏曲创作机制由传统戏的演员主导制向新编戏的作者、导演、演员等多方合作制的转变,剧种的作品化与作品的剧种化就成了

The main body of the opera works refers to the form of thinking in the opera works, both refer to the script writing character design, story conception, plot arrangement, details of the settings, but also includes the stage of music, dance, table director and other aspects of design. Due to the stylistic features and the elaboration of Chinese traditional opera art, the traditional art of the opera often only refers to the artistic features of the operas. However, as the creative mechanism of traditional opera is dominated by the performers of the traditional plays to the writers, directors and actors of the new play Such as the transformation of multi-party cooperation system, operatic style and drama of the drama has become