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谁都不否认中国戏曲体系。这是世界上既古老又年轻、既统一又多元的戏剧体系。无论从剧种的广泛、剧目的繁多、观众的数量,以及既拥有古老的历史、又具备生生不己的发展前景上看,中国戏曲都堪称举世无双。遗憾的是,我们目前还无法从理论上全面地把握、深切地阐明这个丰富多彩、博大精深的戏剧体系。虽然有关这方面的小简合壁、专论编集性的著作并不少见,但都缺乏对中国戏曲精神的总本摄取或系统研究。
No one denies the Chinese opera system. This is an ancient and young theater system in the world that is both unified and pluralistic. In terms of the variety of operas, the variety of plays, the number of viewers, and the prospect of development that has both ancient history and life-long experiences, Chinese opera is universally acclaimed. Unfortunately, we are still unable to grasp the theory comprehensively and profoundly clarify this rich and colorful drama system. Although it is not uncommon to find editorial monographs in this area, all of them lack the total capital intake or systematic study of the spirit of Chinese opera.