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百年来中国社会的变革和新中国建立后的意识形态诉求,为中国戏剧艺术尤其是京剧的发展提供历史性机遇和挑战。京剧界内部以改良、回归和革命三种不同方式作出回应。晚清以来戏剧革命对于京剧创新的影响,梅兰芳、程砚秋等京剧表演艺术家对传统京剧的发掘和创新,延安平剧院开启的具有现代性特质和新意识形态意蕴的京剧革命,都对“样板戏”的出现打下基础。新中国建立后,以阿甲等人为代表的京剧艺术家,通过对传统表演程式的重新改造和新的编排,实现传统京剧形式的新利用和革命现代生活的京剧化艺术表达之间的有效对接,完美塑造革命英雄和社会主义新英雄形象,实现社会主义意识形态的新要求。革命抒情形式成为“样板戏”艺术魅力之所在。“样板戏”是从京剧传统转化而来的具有现代美学精神特征的艺术新形式,是凝聚数代艺术家和演员不断探索与革新的艺术结晶。
The reform of Chinese society over the past century and the ideological appeals after the founding of new China have provided historical opportunities and challenges for the development of the Chinese drama arts, especially the Peking Opera. Peking opera interior to improve, return and revolution in three different ways to respond. The influence of dramatic revolution on the innovation of Peking opera since late Qing Dynasty, the discovery and innovation of Peking Opera performers such as Mei Lanfang and Cheng Yanqiu, the Peking opera revolution with the characteristics of modernity and new ideology opened by Yan’an Ping Theater, Model play “appearance lay the foundation. After the founding of new China, artists such as A Jia and others, through the re-engineering and reorganization of the traditional performance programs, realized the effective connection between the new utilization of the traditional Peking opera forms and the Peking Opera art expression of the revolutionary modern life, Perfectly Shape the Image of a Revolutionary Hero and a Socialist New Hero and Realize the New Requirement of Socialist Ideology. The lyrical form of revolution has become the ”model opera“ where the artistic charm lies. ”Model Opera " is a new art form with the characteristics of modern aesthetics transformed from the tradition of Peking Opera. It is the crystallization of the constant exploration and innovation of several generations of artists and actors.