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佛教观念极大地拓展了藏民族的时空观念,使藏戏形成了独特的时空结构。传统藏戏时空独特性主要体现在时空逻辑、时空构架、时空结构等方面。佛教思想影响下形成的强调体验的主观时间观念,三界之间“互相贯通”的空间观念,形成了传统藏戏的时空逻辑,也是传统藏戏时空观的哲学基础。虚拟的时空背景、神秘意象所营造的神秘奇幻的时空氛围,使传统藏戏形成了一种虚拟而灵动的时空构架。突破了现实的时空构架,使其获得了类似魔幻小说般的叙述自由。传统藏戏对时空结构的安排,常用的手法主要有两种:一种是以线性时间为主,穿插着主观色彩极强的变异时间。另一种是现实时空与虚幻时空交置共存。传统藏戏突破了现实感观的认知局限,创造出一种神奇变幻的艺术世界,在增强作品叙述容量的同时也大大地拓展了作品的心理时空和审美空间。
The concept of Buddhism greatly expanded the concept of time and space of the Tibetan nation and made Tibetan drama a unique space-time structure. The traditional Tibetan opera space-time uniqueness is mainly reflected in the space-time logic, the space-time framework, the space-time structure and so on. The concept of subjective time emphasizing experience formed under the influence of the Buddhist ideology and the space concept of “interpenetrating” between the Three Realms have formed the spatio-temporal logic of traditional Tibetan opera and also the philosophical foundation of the traditional Tibetan concept of space-time. The virtual space-time background and the mysterious fantasy space-time atmosphere created by the mysterious images make the traditional Tibetan play form a kind of virtual and agile space-time structure. Break through the reality of the time and space structure, so that it was similar to the magical fiction narrative freedom. The arrangement of the traditional Tibetan opera on the structure of time and space has two kinds of commonly used tactics: one is based on linear time, interspersed with extremely subjective time of variation. The other is the coexistence of real-time and unreal time and space. Traditional Tibetan plays break through the cognitive limitations of realistic perception and create a magical and changeable artistic world. While enhancing the narrative capacity of works, it also greatly expands the psychological space and the aesthetic space of works.