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美国的约翰·斯奈比特在《艺术多种选择的缪斯》一文中谈:“对于今天的艺术来说,如果说有什么特点的话,那就是有多种多样的选择。”迄今为止,对于中国戏曲艺术本质特征的认识与艺术实践的探索,也同样存在着多种多样选择的严肃思考。一般来说,中国戏曲艺术重在表现,不重在再现,它并不拘泥于生活外貌的逼真,而和生活自然形态保持一定的距离;同时,它更多地强调剧场性,承认戏剧艺术的假定性,而并不追求逼真的幻觉性的戏剧观;另外,它还侧重暗示,在舞台上,对直接描写有较大的节制,而充分发挥间接描写的作用。由此,显现了中国戏曲表演体系闪耀着浓郁东方色彩的写意表演的美学个性。然而,中国古典戏曲的写意戏剧观,在建国初期,曾经受到一次来势非常凶猛的冲击。有一段时间,我国的戏剧界曾经在相当困
John S. Natebit of the United States, in his article entitled “The Muses of Multiplicities of Art,” said: “There is a wide variety of choices for today’s art, if anything.” To date, The understanding of the essential characteristics of Chinese opera art and the exploration of artistic practice also present serious thinking of many kinds of choices. Generally speaking, Chinese opera art emphasizes performance rather than emphasis on reproduction. It does not rigidly adhere to the vividness of life’s appearance but maintains a certain distance from the natural form of life. At the same time, it emphasizes more on theater and recognizes the importance of theatrical art But also does not pursue the realistic illusion of drama. In addition, it also emphasizes on the stage that there is greater restraint on the direct description, while giving full play to the role of indirect description. As a result, the aesthetics of the Chinese opera performance system is shimmering with oriental-color, freehand performances. However, the freehand view of the Chinese classical opera was shocked by a fierce attack in the early days of the founding of New China. For some time, the theater industry in our country was once quite sleepy