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徐渭《四声猿》的出现,引起了批评家们以传统的文气论批评戏曲的特别兴趣。这些批评揭示了《四声猿》创作的深层动因与迥异特征,亦为传统的戏曲批评别开蹊径。评论者们关注到徐渭的人生际遇对他的文艺观念的自然启发,并特别肯定《四声猿》“意气豪侠”的阅读直感,指出徐渭“奔逸不羁之气”与《四声猿》艺术独创之间的关系,还敏锐地发现了《四声猿》的使气为戏与元杂剧间的关联,并借以探讨戏曲兴衰的重要原因,肯定《四声猿》与徐渭诗、书、画等艺术创作“以气摄之”的共同特征,将戏曲文学抬举到传统的“文章”之列。这些都是重要的理论贡献,对于认识传统戏曲的历史与发展提供了不同的认识视角。
The appearance of Xu Wei’s “Four Apes” has caused critics to criticize the special interest of opera in the traditional style. These criticisms reveal the deep motivation and distinctive traits of the creation of the “Four Apes”, and they also look beyond the traditional criticism of drama. The commentators are concerned about the natural enlightenment of Xu Wei’s life experiences on his literary concept and especially affirmed the direct reading sense of “Four Apes” and “Regal Gallant”, pointing out that Xu Wei’s “Unrestrained Ambition” and “ Ape ”artistic originality, but also keenly discovered the relationship between the aura of the“ four-sighted ape ”and the drama of the Yuan Dynasty, and explores the important reasons for the rise and fall of the opera. Books, paintings and other artistic creation “taking pictures of the gas ” of the common characteristics of the opera literature to the traditional “article ” the list. All these are important theoretical contributions, which provide different perspectives on understanding the history and development of traditional opera.