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清初的李渔在中国古代戏曲理论史上具有重要地位,其戏曲理论的创新性之一就是不乏哲学思辨。李渔善于将戏曲艺术实践与经验、感性认识与理性认识有机地结合起来,深刻地揭示戏曲在创作、导演、搬演、欣赏等过程中普遍存在的相辅相成、矛盾对立而又和谐共存、辩证统一的种种关系,处处闪现出不同凡响的睿智灼见,充分体现了李渔的戏曲理论具有明显的艺术哲学性质。这一特点突出地表现在李渔关于导演择剧的可仍与可改的论述上。
Li Yu in the early Qing Dynasty plays an important role in the history of Chinese ancient opera theory. One of the innovative aspects of his opera theory is the lack of philosophical thinking. Li Yuanshan is good at organically combining the practice and experience of opera art, perceptual knowledge and rational understanding, and profoundly reveals the common existence of the drama in the process of creation, director, performance and appreciation, and the coexistence of contradiction and opposition while in harmony and the dialectical unity Relations, flashing extraordinary extraordinary wisdom, fully embodies Li Yu’s opera theory has obvious artistic philosophy. This feature is prominently manifested in Li Yu’s director’s choice of drama can be changed and discussed.