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在传统的戏剧美学思想中,冲突的观念一直占有主导的地位。这使得一些人误以为冲突便是戏剧美学的全部,并在不自觉中,把冲突由手段层推至目的层,从而遮挡了戏剧美在创造美和审美两个向度上应该有的更广阔的视野,大大影响了戏剧美的丰富性。 郭因先生从他追求和谐的一贯美学思想出发,在为数不多的影、视、剧研究及言论中,执著而独辟蹊径地建构了他的戏剧美学观。这就是既闪射着中国古代美学思想的光芒,又浸润着现代人文理想的、具有广阔学术胸怀的和谐观。它以和谐为美,化对立为合一,化冲突为和谐,化单纯为复合,拓展了戏剧美的理论和实践空间。从而使戏剧更加贴近生活、贴近现实,贴近社会和大众的需要。 综览郭因先生有关影、视、剧的全部论述,其和谐为美的戏剧美学观基本是由如下几个层面推出的。 一、手段和谐 戏剧是由活人作为载体来传递审美信息的。其主要表现手段往往负载在活人身上。故此,处理好表演者与其他合作者,表演者与表演者,表演者与自身,甚至风格流派、思维方
In the traditional aesthetics of drama, the concept of conflict has always dominated. This makes some people mistakenly think that the conflict is all of drama aesthetics and unconsciously pushes the conflict from the tactics to the purpose level so as to obscure the wider scope that the dramatic beauty should have in creating the two dimensions of beauty and aesthetics Vision, greatly affected the richness of drama beauty. Based on his consistent aesthetic ideas of pursuing harmony, Mr. Guo Yin constructed his aesthetics of drama in one of the few shadowy, visual and drama studies and comments. This is a harmonious concept with a broad academic mind that sparks both the light of ancient Chinese aesthetics and the modern humanistic ideal. It regards harmony as beauty, polarization as unity, transformation of conflict as harmony, simplification as a composite, and expansion of theatrical and practical space for theory and practice. So that drama closer to life, closer to reality, close to the needs of the community and the public. A summary of Mr. Guo Yin’s films, videos and dramas are all discussed, the harmonious beauty of theatrical aesthetics is basically launched by the following levels. First, the means of harmonious drama is transmitted by the living as a carrier of aesthetic information. Its main means of expression are often loaded on the living person. Therefore, to deal with performers and other partners, performers and performers, performers and themselves, and even the genre of schools, thinking side