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中国戏曲的发展,历来就具有兼容并蓄,吐纳扬弃的魄力与胸怀。粤剧的这一特点更为突出。自鸦片战争以来,西方文化与炮舰同时涌进我国,开始造成了不平等的文化交流。其后果就是“全盘西化”或是“极端排外”的失衡心态的形成。但是,这种状态并没有使戏曲,尤其是戏曲音乐对于任何外来文化的主动交流、吸收和借鉴停滞或中断。在这种交流中,只要人们不再坚持那种全盘否定客观艺术标准的观点,戏曲就可以在这种交流的实践中获得极大的收益与发展。粤剧就是这种交流的受益者。从上世纪二、三
The development of Chinese opera has always had the courage and ambition of inclusiveness and sublation. This feature of Cantonese opera is even more prominent. Since the Opium War, Western culture and gunboats have flooded into our country at the same time, beginning to create unequal cultural exchanges. The consequence is the formation of an unbalanced mentality of “total westernization” or “extreme exclusion.” However, this state did not make the drama, especially opera music actively exchange, absorb and draw lessons from any foreign culture. In this exchange, as long as people no longer insist on the idea of totally negating the objective art standards, opera can gain tremendous benefits and development in the practice of such exchanges. Cantonese opera is the beneficiary of this exchange. From the last two or three