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鬼戏在中国古代戏曲史上的繁盛是勿庸置疑的。生命像草芥一样随意就被剥夺的窦娥不甘心这样的任人践踏,死后作鬼了也要鸣冤叫屈,一定要还一个天道昭昭;“颜色如花,命如一叶”的杜丽娘伤情而亡,然而追求生命和爱情的自由意志无论如何都要得到一种实现,于是她告过冥界,与梦中之人人鬼相恋,并因情还魂;忠君爱国的岳飞死后被玉帝封神,并在阴间审讯秦桧,让他堕入地狱,万劫不复……种种鬼戏适应了中华民族的普遍心理和审美理想,因而在中国戏曲舞台上显示了蓬勃的生命力!本文试图从戏曲美学来探究中国古典鬼戏勃发的原因。
The ghost drama in the history of ancient Chinese drama is undoubted. Do not be as random as life on the grass as being robbed of Dou E not willing to trample such an appointment, after death for a ghost to complain, must also be a paradise; "color flowery, life as a leaf And death, however, the pursuit of freedom and the will to love and life in any case to be a realization, so she told the underworld, fell in love with all the ghosts in the dream, and because of love and soul; God, and in the underworld interrogation Qin Hui, let him fall into hell, beyond redemption ... ... all kinds of ghosts adapt to the general mentality of the Chinese nation and the aesthetic ideal, which in the Chinese opera stage shows the vitality of vitality! Explore why Chinese ghosts flourish.