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关于戏曲的文字记载,可以追溯到很远的周、秦。到南北朝时,戏曲的外观特征已经基本形成。不论“踏谣娘”还是“参军戏”都能佐证这一点。研究成果表明,戏曲至今仍存留的大部分形式远在隋唐时就已日渐成熟。元杂剧和元杂剧以后,相当一部分文人介入戏曲领域,戏曲以文学的形式负载了更多的社会内容。因此,戏曲偏离开她以往唯一的活态传承方式,越来越依赖于文字。随着社会文明程度的不断进化,很多鲜活的戏曲走进抽象的文字,一些极具保护价值的原生态戏曲渐渐枯萎了,留在我们面前的只剩下一页页发黄的稿纸。现在,我们已经习惯于从文字记载中来了解戏曲, “从王朝更迭的历史、从文物遗址、从精英文人的墨迹中了解戏曲。我们还不习惯从口传文化、从乡村文化和约定俗成、世代承传的民俗生活的角度来认识戏曲。”事实确实如此。我们真是很少或者说根本没有用民间的哲学和思维来认识戏曲这一中华民族的优秀传统文化。这是目前戏曲文化研究中的一个弱项。
The writing of the opera can be traced back to the very far Zhou, Qin. To the Northern and Southern Dynasties, the appearance of the drama has been basically formed. Whether “riding rhyme mother” or “join the army play” can support this point. The research results show that most of the forms still preserved in the opera have matured far from the Sui and Tang dynasties. After Yuan drama and Yuan drama, a considerable part of the scholars involved in the field of opera, opera in the form of literature to carry more social content. Therefore, the drama deviates from her past, the only way of living heritage, more and more dependent on the text. With the continuous evolution of social civilization, many lively dramas entered abstract texts. Some original ecological operas with great protection value were gradually wilting away. Only the yellow manuscript remained in front of us. Now we are accustomed to understanding the drama from the written records, “From the history of the dynasty change, from the cultural relic sites, from the elite literati ink to understand the opera.We are not accustomed to from the oral culture, from rural culture and conventions, from generation to generation The traditional folk life point of view to understand drama. ”The fact is true. We really rarely or never used the folk philosophy and thinking to understand the traditional Chinese culture of traditional opera. This is a weakness in the study of opera culture at present.