论文部分内容阅读
戏曲现代戏,既不同于话剧,也不同于传统戏曲,更不是简单的传统戏曲与话剧的组合。因此,戏曲现代戏的表演艺术,理所当然有自身的本体美学特征。而这一问题,在当前无论是在理论研究领域,还是在艺术实践领域,都处于探索阶段,尚未形成完整的理论体系与表演体系,远不如传统戏曲那样,既有理论上体系化了的张庚先生的巨著《戏曲艺术论》,又有表演上的“梅(兰芳)氏体系”——与斯(坦尼斯拉夫斯基)氏体系、布(莱希特)氏体系一起,并称“世界三大演剧体系”。
Modern opera drama, is different from the drama, but also different from the traditional opera, but not a simple combination of traditional drama and drama. Therefore, the performing arts of the modern drama of the opera have, of course, their own ontological aesthetic features. At present, the issue is in the stage of exploration both in the field of theoretical research and in the field of artistic practice, and a complete system of theory and performance has not yet been formed yet far from the traditional systematic theory of drama Mr. Geng’s masterpiece, “Drama and Art Theory”, and “Mei (Lan Fang) ’s System” on the performance - together with the system of (Stanislavsky’s) system and cloth (Lechter) “The world’s three major theater system.”