论文部分内容阅读
怀着敬慕的心情读完《中国戏曲通论》(以下简称《通论》),不胜欣喜:我国戏曲终于有了一部系统论著。以张庚、郭汉城为首的10位戏曲理论者,精汇毕生研究成果,倾注各自才华心智,互相配合,通力合作,共同完成了这部前所未有的《通论》。这是一部迄今为止较为全面、系统、完整的戏曲艺术论著。它诞生在戏曲处境艰难,前景迷茫,且众说纷纭,褒贬不一的今天,更有着指点迷津,正本清源,展民族艺术之魂,长中华人民之志的力量和意义。“戏曲是既古老又新鲜的一种戏剧。它对于全世界来说,是一种独特的戏剧样式,是一种独特的戏剧体系。”(张庚语,《通论》第一章)
With admiration, after reading “The General Theory of Chinese Opera” (hereinafter referred to as the “General Theory”), it is very gratifying that the Chinese opera finally has a systematic treatise. The 10 theatrical theorists headed by Zhang Geng and Guo Hancheng have worked hard to complete their life-long research achievements, devoted their respective talents and cooperated with each other and worked together to complete this unprecedented “general theory.” This is by far a more comprehensive, systematic and complete opera art treatise. It was born in the drama of the difficult situation, the prospect of confusion, and different opinions, mixed present, even more pointing maze, the original Qingyuan, show the soul of national art, the strength of the Chinese people’s long-term significance. “Drama is an ancient and fresh drama that is unique to the world and a unique theater system.” (Zhang Geng, “The First Chapter of General Theory”