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针对学界百年来使用西方话剧思维来评价戏曲美学的相关问题,并由此导致的戏曲审美的文学性评价问题,陈多给予了理论上的质疑与回应,并形成了自己特色鲜明的戏曲美学思想体系。陈多戏曲美学思想的理论架构的前提和基础就是将戏曲艺术还原到舞台形态,也即是“场上之曲”。在陈多戏曲美学思想体系中,“场上之曲”呈现出非文学性的特点,与传统意义上将文学性作为评价一部戏曲作品好坏的观点大相径庭。本文旨在对“场上之曲”的非文学性进行探讨和阐释。
Aiming at the problem that the academic circles used the Western drama theory to evaluate the aesthetics of the drama for centuries and the aesthetic evaluation of the literary nature of the drama thus caused, Chen Duo gave theoretical questions and responses and formed his own distinct aesthetic theory system. The prerequisite and basis of the theoretical framework of Chen opera’s aesthetics is to restore the art of opera to the stage form, that is, “the song of the field”. In Chen Duotao’s aesthetics system, “The Songs on the Field ” shows the characteristics of non-literary, which is very different from the traditional view of literary as an evaluation of the works of a drama. The purpose of this paper is to discuss and explain the non-literary nature of “The Songs on the Field”.