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在以“媚俗”为特征的大众文化时代中,包括梨园戏和昆曲等在内的中国传统戏曲处于濒临灭亡的困境是一个不争的事实。青春版《牡丹亭》能充分考虑到大众文化时代的消费需求,采取“古典为本,现代为用”的策略,制造出古典和现代完美结合的创新性作品,成为传统文化在大众文化时代下生存、复兴、发展和创新的成功典范。青春版《牡丹亭》的成功经验无疑对《陈三五娘》的发展和创新具有积极的参照启发意义。具体而言,《陈三五娘》可以从十个方面进行可能性的改编和创新。另外,从“文化生态学”的角度来说,当戏曲剧种“外部生态结构”发生变化,戏曲剧种应该积极寻找对策,增加其自我适应、自我调节和自我更新的能力。
It is an indisputable fact that the traditional Chinese opera, including Liyuan Opera and Kunqu Opera, is on the verge of extinction in the era of popular culture characterized by “kitsch”. Youth version of “Peony Pavilion” takes full account of the consumer demand in the mass culture era and adopts the strategy of “classical-oriented, modern-oriented” to create the perfect combination of classical and modern innovative works and become the traditional culture in popular culture A successful example of survival, rejuvenation, development and innovation under the age. The successful experience of the youth version of “Peony Pavilion” undoubtedly has positive reference and inspiration for the development and innovation of “Chen San Wu Niang”. Specifically, Chen Sanwu Niang can adapt and innovate possibilities from ten aspects. In addition, from the point of view of “cultural ecology”, when the opera genre “external ecological structure ” changes, opera genres should actively seek countermeasures to increase their ability to self-adapt, self-regulation and self-renewal.