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任何艺术,都有文化和艺术的两重性,昆剧的特征最为显著。正因为它特殊的两重性,引起人们对它的不同看法。在2006年第三届中国昆剧艺术节的锣鼓声中就夹杂着文化观和艺术观的不同声音。文化保护者对本届的创新剧目提出猛烈批评:“今天说‘保护昆曲’都不够,因为艺术节主导思想的错误,我们现在所做的几乎是在‘保卫昆曲’。”艺术创新者以实际的作品回答:昆剧是活态的文化艺术,需要面对观众,面对时代,今后还要面对市场,这就需要发展,发展就要创新,一部昆剧史,本身就是艺术创新史。昆剧的两重性使对它的保护与创新落入两难的尴尬境地。要摆脱这种尴尬境地,必须抓住昆剧的主要属性。
Any art, both cultural and artistic duality, Kunqu Opera features the most significant. Precisely because of its special duality, it causes people to have different opinions about it. In 2006, the gongs and drums of the 3rd China Kunju Opera Festival were mixed with different voices of cultural and artistic views. Culture protectors have strongly criticized this year’s creative repertoire: “It is not enough today to say that” the protection of Kunqu opera “is not sufficient because what we are doing now is almost the same as” defending the Kunqu opera. “” Art innovators, Of the works to answer: Kun Opera is a living culture and art, the need to face the audience, the face of the times, but also the face of the market in the future, which requires development, innovation is necessary, a Kunqu Opera history itself is the history of art innovation . The duality of Kunqu Opera makes its protection and innovation fall into the dilemma of embarrassment. To get out of this embarrassing situation, we must seize the main attributes of Kunju Opera.