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作为表现艺术的戏曲,它以唱、念、做、舞(打)的综合形式,表现丰富多彩的现实生活。又以“虚实相生假中见真”,给观众以美的视、听。它不同于再现艺术的话剧、电影,而是从生活出发,经过提炼、夸张、乃至变形的艺术处理,来表现生活的本质,并不要求按生活的本来面目反映生活,而是以中国古典诗歌、绘画艺术演化而来的“写意”方式,表演作家、演员对生活的感受,它是典型化、变态化了的生活,是艺术化了的生活。中国戏曲与生活的间隔性,主要表现在戏曲的虚拟性、传神性、抒情性诸因素中。古典诗歌里,常有“不识庐山真面目”之类“超以象外,得其寰中”的描写,讲的就是审美主体与审美客体保持的一定的距离。戏曲艺术要求作家、艺术家把自己对生活、角色中
As a performance of the art of drama, it sing, read, do, dance (fight) in the integrated form, showing a rich and colorful real life. Again “real or imaginary real false see real”, to the audience to the United States as the visual, listening. It is different from the reproduction of the art of drama and cinema, but from the life, through refinement, exaggeration, and even the art of deformation to show the essence of life, does not require life to reflect the true colors of life, but with Chinese classical poetry , The “freehand” mode evolved from the art of painting, the performance of the feelings of the writers and performers on life, which is a typical and perverted life and an artistic life. The separation of Chinese opera and life is mainly manifested in factors such as the virtuality, expressiveness and lyricism of the drama. In classical poetry, there are often descriptions such as “I do not know the true face of Lushan Mountain” and “I Hurricane in the Middle of the Outside,” which is the distance between the aesthetic subject and the aesthetic object. The art of opera requires that writers and artists bring themselves to life and role