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天津京剧的第二个黄金时代,是新中国建国十七年间。如果说前一时代是“卫派”京剧的孕育期的话,那么这一时代便是它的实验期了。此间,由于大写乡土史形成强大的社会文化思潮,人们在创作上开始关注题材与现实生活之间的美学关系,领悟到:地域的历史沿革、生活环境、文化心态、美学风貌总要作用于创作实践,影响一部艺术作品民族特色的审美内涵。因此,充分发挥地域文化积淀的优势,几乎为艺坛所认同。这就引发天津京剧奔向了自觉追求。
The second golden age of Tianjin Peking Opera was the 17 years since the founding of new China. If we say that the previous period was the incubation period of the “Wei School” Peking Opera, then this period is its experimental period. In the meantime, since the capitalist local history formed a strong social and cultural trend, people started to pay attention to the aesthetic relationship between the theme and the real life in their creations. They realized that the historical evolution, living environment, cultural mentality and aesthetic style of the region always have an impact on the creation Practice, affecting the aesthetic connotation of the national characteristics of a work of art. Therefore, giving full play to the advantages of geographical and cultural accumulation is almost recognized by the art world. This caused Tianjin Peking Opera to consciously pursue.