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戏曲者,曲尽人情,一是深切把握人物的心曲,二是以曲折的方式将人物的情感在舞台上披露出来。前者是诗性诗思,后者是诗艺诗技。从《节妇吟》、《董生与李氏》到新作《唐琬》,王仁杰的剧作可谓深得古典诗词“诗言志”与古代戏曲“曲尽人情”的风神之美。刘士林在《中国诗哲论》中总结道:“中国文化是诗性文化。”可以说,这种诗性精神已经凝结成一种艺术元素渗透在王仁杰的血液里,决定着他的艺术思维和艺术追求。这使他的剧作往往建构了急转的剧情,将外部冲突删繁就简,从而腾出笔墨着意展示人物内心情致,尤其是人物灵魂悲剧性碰撞的痛苦。《唐琬》也禀承这种风格:人物性格、戏剧结构和对白唱词都以抒情为纽带,在不枝不蔓的情节中,将唐琬爱恨纠缠的情感与心理写得百转千回,摇曳生姿。
Opera, song of human, one is to seize the heart of the characters, and the other is the twists and turns of the character’s emotions will be disclosed on stage. The former is poetic poetry, the latter is poetic poetry skills. From the festival women Yin, Dongsheng and Lee, to the new work Tangxuan, Wang Renjie’s play can be said to have won the beauty of Fengshen in classical poems, poems and poems and ancient drama, . Liu Shilin concluded in his book “The Theory of Chinese Poetry” that “Chinese culture is a poetic culture.” It can be said that this poetic spirit has been condensed into an art element that permeates Wang Renjie’s blood and determines his art Thinking and artistic pursuit. This makes his dramas often construct a dramatic plot, and the external conflicts are exaggerated and simplified so as to free themselves of ink and brushstrokes to show the innermost feelings of the characters, especially the tragic collisions of characters and souls. “Tang Xun” also endures this style: the character, the drama structure and the dialogue lyrics lyric as a link, in the non-stick plot, will Tang Tang love and hate the emotional and psychological write thousands of turns, sashay posture.