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现在,戏曲处在困惑、式微的境地,渐进性的改良,已经不足以使它从困境中拔出。这种现状要求戏曲要作大幅度的、飞跃性的变革。这是一种历史性的要求。摆在这种历史性要求面前的戏曲好象应该是要除旧布新,对自身的许多因素作自我否定,自我扬弃,使自己符合时代的要求。这便给许多人造成一种误会,使他们以为中国戏曲的基本艺术特征即它的美学根基似乎要不得了,一切要以现代审美观念为依据。于是戏曲的美学根基和现代审美意识就
At present, the drama is in a puzzled, modest situation and its gradual improvement is not enough to pull it out of its predicament. This situation requires that opera should make drastic and dramatic changes. This is a historic request. The operas placed before this historic requirement should seem to want to remove the old cloth and self-denial of many of its own factors, self-sublation, to conform to the requirements of the times. This has created misunderstandings for many people, making them think that the basic artistic feature of Chinese opera is its aesthetical foundation. It seems that everything should be based on modern aesthetic concepts. So the aesthetics of opera and modern aesthetic consciousness