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关汉卿创作的历史剧与其公案剧、婚恋剧鼎足而三,历来为学界所关注,其中虚实问题是一个核心问题,且争议较多。笔者从审美层面重读其历史剧经典,观照关汉卿处理历史人物虚实问题的美学原则,挖掘其超时空的审美价值,总结他以美学理想主导历史人物改塑的成功经验。关汉卿针对社会现实中审美层面的缺失,寄寓自己的审美理想,在三国戏等历史剧中弘扬了三方面的审美价值:即大丈夫的雄豪阳刚之美,贤士人的道德理想之美,重情者的深厚感情之美。这是今天历史题材创作与历史人物塑造仍然需要很好借鉴的宝贵经验。
Guan Hanqing’s historical drama and his case drama and marriage drama have always been of great concern to the academic circles. The issue of actuality and reality is a core issue and there are more disputes. The author rereads his classics of historical drama from the aesthetic level, observes Guan Hanqing’s aesthetic principle of dealing with the actual situation of the historical figures, digs out the aesthetic value of his meta space-time, and sums up his successful experience of transforming the historical figures with the aesthetic ideal. Concerning the lack of aesthetic level in social reality, Guan Han-qing spreads his own aesthetic ideal to carry forward the aesthetic value of three aspects in historical plays such as the Three Kingdoms drama: the masculine masculine masculinity of the great man, the beauty of the virtuous people’s moral ideal and the deep love of the heavy lover Emotional beauty. This is a valuable lesson that still needs to be drawn upon from today’s historic theme creation and historical figures.