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昆曲是一种乐诗体系,话剧是一种剧诗体系。在中外文化彼此交流与频繁对话过程中,两种戏剧体系无可避免地发生了碰撞、较量、妥协乃至融合,新编昆曲大抵都在博弈夹缝这一戏剧生态环境中亮相与生存。不论从昆曲转向昆剧,从行当走向人物,从简一走向庞杂,或从审美走向思辨,从轻灵走向沉浑,由娱心转向思心,新编昆曲创作与舞台实践仍需时刻恪守传统昆曲本体,追究本体,熟稔品性,以此召回中华民族心中真正的雅乐。
Kunqu is a kind of musical poetry system, drama is a kind of drama poem system. In the course of exchanges and frequent conversations between Chinese and foreign cultures, the two kinds of drama systems inevitably collide, contest, compromise and even merge. The newly created Kunqu Opera mostly debuts and survives in the drama ecological environment where the game is caught. From Kunqu Opera to Kunqu Opera, from the line of business to the characters, from simple to complex, or from the aesthetic to speculation, from light to muddy, from entertaining to thinking, the new Kunqu Opera creation and stage practice still need to always abide by the traditional Kun Opera Ontology, held accountable ontology, familiarity with nature, in order to recall the true Allegro in the hearts of the Chinese nation.