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研究者常常说.中国传统戏曲的表演方式是写意,欧洲传统戏剧的表演方式是写实。所谓写意,就是并不严格模仿生活原貌,而是用虚拟、变形的手法,集中凸现生活的某些精神特质,由“不似”达到“神似”;而所谓写实,则是以自然方法模仿生活,从人物的装扮、言行到舞台布景,都力求逼真于对象原貌。并说,这“写实”和“写意”两种戏剧观,历来都是矛盾的,不相融的。其实,这是一个很大的认识误区。我们有必要从戏剧表演的角度探讨“形”“意”之间的关系,由此透视中国戏剧的本质特征,并结合当前的舞台实践,进行必要的分析。
Researchers often say that the performance of traditional Chinese operas is freehand, and that of European traditional plays is realistic. The so-called freehand brushwork does not strictly imitate the original appearance of life. Instead, it uses virtual and distorted techniques to focus on certain spiritual qualities of life and achieve “divine similarity” through “not like”; while the so-called realism imitates life through natural methods , From the figure’s dress, words and deeds to the stage set, all strive to be realistic in the original appearance of the object. And said that this “realistic” and “freehand” two kinds of dramatic view, has always been contradictory and incompatible. In fact, this is a big misunderstanding. It is necessary for us to explore the relationship between “form” and “meaning” from the perspective of theatrical performance. From this we can see the essential characteristics of Chinese drama and make the necessary analysis in combination with the current stage practice.