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中国戏曲作为一种独特的艺术形态,作为戏剧把握现实的一种方式,它是民族审美心理长期积淀的对象化,是从古至今奔向未来的流程……。传统不是一个封闭的系统,它将不断从现实生活和各种现代文化中获得滋养,充实、发展、完善、强化自己的美学特性。戏曲舞台美术,作为戏曲构成的一部分,它的发展,也必然遵循这一规律,在不断自我更新中实现自身的现代选择。一、中国戏曲布景相对具象化的趋势山西稷山马村出土的砖雕及元代明应王殿的壁画所描绘的传统戏曲舞台结构、服装、化妆的雏型,到20世纪20年代京剧艺术走向鼎盛,基本完善了以“一桌二椅”为标志的造型体制(其中包括服装、
As a unique form of art, Chinese opera, as a way of grasping reality in drama, is the objectification of the long-term accumulation of national aesthetic psychology and the process of running toward the future from ancient to modern times. Tradition is not a closed system. It will constantly nourish, enrich, develop, improve and strengthen its own aesthetic characteristics from real life and various modern cultures. As a part of the composition of opera, the opera stage art must also follow this law and realize its own modern choices in continuous self-renewal. First, the relative tendency of the Chinese opera scene is quite specific. The brick carving unearthed in Maji Village, Shanxi Province and the murals of Ming dynasty Ming dynasty by Yuan dynasty depicted the traditional opera stage structure, the prototype of clothing and makeup, and the art of opera in the 1920s To the heyday, the basic improvement of the “one table and two chairs” as a symbol of the modeling system (including clothing,