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在古典戏曲美学的诸多建设者中,卓人月的悲世曲论可谓独树一帜。他以其独特的生存体验、短暂的人生经历和沉郁的世间感悟,对词曲作品中悲哀和苦楚的情绪,予以了具体的点评、普遍的归纳和系统的认定。他对人生苦境的绝对性与生命换个之间的相对性之间的巨大对立与相辅相成认识甚深,从而提倡使人“超然于悲欢而泊然于生死”的人生态度,从而对戏曲中的正剧化和喜剧化的处理予以了不以为然的放逐。以悲论剧,因怨生曲,这使得他成为提倡悲世戏曲的著名代表人物。
Among the many builders of classical opera aesthetics, Zhuo Ren’s tragic song theory can be described as unique. With his unique survival experience, short life experience and gloomy world sentiment, he gives a detailed comment on the tragedies and pains in the lyrics works, which are generally summarized and systematically identified. His understanding of the great confrontation and complementarity between the absoluteness of life’s bitterness and the relativity of life changes so much that he advocates the attitude towards life that makes people In the dramatization and comic treatment of the banished by the contrary. With tragedy of drama, because of resentment, which makes him a well-known advocate of tragic drama.