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在中国古典戏剧理论中,人们视戏剧的故事本体为“寓言”,因而在虚实关系上追求戏剧创作的“有意驾虚”,要求以“情感逻辑”来规范戏剧情节的内在发展,从而更真切地表现剧作者的内在情感和实现戏剧创作的功利目的。然而,戏剧艺术毕竟还要面对广大的观众,它不是一种纯个体的艺术活动,其艺术价值的最终实现还得依赖于广大观众的欣赏和认可。由此,怎样来提高戏剧情节的质量,使之更具有丰富的戏剧性,造成一种生动的、富于吸引力的艺术魅力,便自然而然地成了剧论家和剧作家无法回避的一个现实。所谓“奇”这一范畴正是古典剧论家们所竭力强调的一个戏剧情节的审美原则。
In the theory of Chinese classical drama, people regard the story itself of the drama as “allegory”, and therefore pursue the “intentional daring” of the dramatic creation in the relationship between reality and reality. It demands that the inner development of drama plot should be regulated by “emotional logic” To express the intrinsic emotion of the playwright and to realize the utilitarian purpose of drama creation. However, after all, the theater art has to face a large audience. It is not a purely individual artistic activity. The ultimate realization of its artistic value depends on appreciation and approval of the vast audience. Therefore, how to improve the quality of the dramatic plot, make it more rich and dramatic, and create a vivid and attractive artistic charm has naturally become an unavoidable reality for the theatrical writers and playwrights. The so-called “odd” category is the aesthetic principle of a dramatic plot that classical dramatists are trying to emphasize.