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《戏文》1991年第3期发表景志刚的同题文章,文中认为: 当代戏剧观众在审美心理上的惰性心理和新奇意识之间存在着深刻的内在矛盾。观众审美活动中的惰性心理,一方面以此强化已有的欣赏习惯和审美经验,拘牵新奇意识,另一方面钝化观众们艺术感受力和审美想象力。新奇意识则以自身的求异性特征,表现出对固有艺术规范和审美经验的否定和扬弃,寻找新的艺术世界和审美经验,并通过新的审美经验激活被惰性心理窒息了的审美感受力的艺术想象力,从而使观众能走进艺术欣赏的新天地。因此,
“Drama” 1991 the third issue of Jing Zhigang’s article with the same article, the article that: the contemporary audience of theatrical psychology of inertia and novelty consciousness there is a deep internal contradictions. Audiences in the aesthetic activities of inertia, on the one hand in order to strengthen the existing appreciation of habits and aesthetic experience, curiosity novelty, on the other hand passivation of the audience’s artistic and aesthetic imagination. Novelty consciousness, with its own characteristics of seeking the opposite sex, shows the negation and abandonment of the inherent artistic norms and aesthetic experiences, searches for a new artistic world and aesthetic experience, and activates the esthetic feeling suffocated by the inertial psychology through new aesthetic experiences Artistic imagination, so that the audience can enter the new world of art appreciation. therefore,