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在当代文艺百花园中,最能代表我国文化传统、体现我国民族性格的当属戏曲艺术。它是我国古代文化的一件瑰宝,也是我们中华民族的一种骄傲。千百年来凝聚着历代作家和演员的多少心血和汗水。可是当问起是何人在中国戏曲史上做出贡献的时候,人们经常挂在嘴边的,不是元朝的关汉卿、王实甫,就是近代的梅兰芳、程砚秋等男性作家和演员,而很少提及女性。其实,这是很不公平的,因为稍加留意,在中国戏曲发展史上女性演员也做出了卓越的贡献。我们知道,戏剧艺术的胚胎是原始歌舞。在那以渔猎为主要生产方式的初民时期,人们劳动之余,利用歌舞形式来庆贺丰收,酬谢神祗。而这种全民性的歌舞活
In the contemporary art garden, the most representative of our country’s cultural tradition, the embodiment of our national character is undoubtedly drama art. It is a treasure of ancient Chinese culture and a pride of our Chinese nation. Thousands of years to pool the history of writers and actors how much effort and sweat. However, when asked who contributed to the history of Chinese opera, people often talked about, not the Guan Yuan Han Dynasty, Wang Shih Fu, is the modern Mei Lanfang, Cheng Yanqiu and other male writers and actors, and rarely mentioned female. Actually, this is very unfair. Because we paid more attention to it, female actresses also made outstanding contributions in the history of Chinese opera development. We know that the embryo of drama is the original song and dance. In the early years of the People’s Republic, where fishing and hunting were the main mode of production, people used their songs and dance forms to celebrate the harvest and reward the gods. And this universal song and dance