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传统戏曲作为中华民族的国粹,每个生活在这片土地上的人都至少有些模糊的认识。说它模糊,是因为戏曲的“传统”和生活的“现代”突然间拉开了长长的距离,没得我们或痛心或漠然地逐渐对它采取了敬而远之的态度,把这座艺术宝库紧紧地锁了起来。于是,被疏远了的中国传统戏曲终于在观众的料峭寒意中感受到了从未感受过的孤独、焦虑和尴尬,甚至生存的危机。生或死?传统戏曲在反思,她发现自己不得不“妥协”,不得不走下“高惟”的舞台,世俗地也有些悲怆地在世纪之初高喊一声:“下海——”
As traditional Chinese opera as the quintessence of the Chinese nation, everyone living in this land is at least somewhat vaguely aware. To say that it is vague because the traditional “drama” of the opera and the “modern” life have suddenly gone a long way without us, either painfully or indifferently, gradually taking it at arm’s length and taking the art gallery tight Tightly locked up. As a result, the alienated Chinese traditional drama finally felt the loneliness, anxiety and embarrassment of the audience and even the crisis of survival in the anticipation of the audience. Life or death? Traditional opera is introspective. When she finds herself having to “compromise” and has to step down on the stage of “GAO WEI”, she also shouts at the beginning of the century in a mundane manner: “Xiahai -”