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袁国兴著《非文本中心叙事:京剧的“述演”研究》以京剧的艺术本体研究为中心,将京剧的“述演”艺术行为放在文化传播的理论视野中,阐析其内在的、动态的竞技演艺质地;将京剧与其他“非文本中心”叙事等量齐观,赋予其多元共生的艺术内涵;将京剧置于中华民族传统文化的场域中,在中西戏剧的互文观照下,建构起极富启发意义的开放理论格局。当下京剧研究大多拘泥于史料考证、轶闻辑录或静态微观的演艺行为考辨,相比之下,“非文本中心叙事理论的建构”显然是难得的突破。
Yuan Guoxing’s “Non-Text Center Narrative: Peking Opera’s” Theatrical Study “focuses on the research of Peking Opera’s artistic noumenon and puts the artistic performance of Peking Opera in the theoretical field of cultural communication Inner and dynamic competitive performing arts. Peking opera and other ”non-text center“ narratives are given the same amount of connotation, giving it the artistic connotation of multiple symbiosis. Peking opera is placed in the traditional Chinese culture field, In the light of this, we construct a very inspiring theory of openness. At present, most of the studies on Peking opera are rigidly based on the textual research on historical materials, anecdotal records or static microscopic performing acts. In contrast, ”the construction of narrative theory in non-textual centers" is obviously a rare breakthrough.