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在中国源远流长的五千年文化中,古典戏曲理论虽不及诗文理论量多而丰富,但戏曲作为一种独具特色的艺术样式,其理论同样在文学理论中占据着重要的地位。因此在上世纪八、九十年代,相继出现了许多关于古典戏曲理论研究的成果。如赵景深《曲论初探》、夏写时《中国戏剧批评的产生和发展》、齐森华《曲论探胜》、叶长海《中国戏剧学史稿》、谭帆和陆炜(以下简称谭、陆)合著《中国古典戏剧理论史》、赵山林《中国戏剧学通论》等。
In the five thousand years of Chinese culture, classical opera theory is not as rich and abundant as poetry and literary theory, but as a unique artistic style, opera theory also occupies an important position in literary theory. Therefore, in the eighties and nineties of the last century, there have been many achievements on the study of classical opera theory. Such as Zhao Jingshen’s “Exploration of Qu Yuan”, “The Emergence and Development of Chinese Drama Criticism” in Xia Dynasty, Qi Senhua’s “Theory of Qu Yuan”, Ye Changhai’s “History of Chinese Drama”, Tan Fan and Lu Wei ) Co-authored the History of Chinese Classical Theater Theory and Zhao Shanlin’s General Theory of Chinese Theater Studies.