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戏曲人物塑造的弱点和弊病在戏曲独特美学原则的规范下,戏曲人物画廊里出现了一批不朽的典型和形形色色的众生相,为戏曲人物形象塑造积累下许多宝贵的经验。在历代关于戏曲的序、跋、题款、笔记、注释文章、专著中,散金碎玉般的编剧理论也时有出现,至李渔的《闲情偶寄》方集其大成。一方面,我们不能用西洋话剧的标准削足适履地硬套戏曲人物,抹煞戏曲人物的特点,贬低戏曲人物的价值;另一方面,也不应一味强调戏曲特点而无视戏曲人物塑造的弱点和弊病;更不应将歪曲、图解、滥用戏
Weaknesses and Drawbacks of the Traditional Chinese Opera Characters Under the norm of the unique aesthetic principles of the opera, there are a number of immortal typical and various sentient beings emerging in the gallery of opera figures. Many precious experiences have accumulated under the influence of the traditional opera characters. In the history of opera, preface, postscript, inscriptions, notes, annotations, monographs, scattered shreds screenwriter-like theory also appeared from time to time, Li Yu's “Leisure Feelings” set its culmination. On the one hand, we can not use the standards of western drama to play hard and stereotyped drama characters, obliterate the characteristics of opera characters and belittle the values of opera characters; on the other hand, we should not emphasize the characteristics of opera without regard to the weaknesses and disadvantages of the drama characters. More should not be distorted, graphic, abuse of play