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在现实文化语境下,成都木偶、皮影戏欲获得进一步的生存和发展的空间,则需要充分发掘“死”的木偶、皮影与“活”的人之间,凝固的表情与发展的剧情之间的艺术张力,以此入手更深入地开掘观众的艺术想像空间;需要重视剧本建设,而避免单纯的“技术膨胀”;需要牢牢把握自身艺术本体,而不仅仅是刻意地模仿本地地方戏剧。成都木偶、皮影戏在追求精致化的同时,更需注重其与生俱来的野趣美,可立足于成都特有的文化生活情调,依托校园文化、茶馆文化、社区文化,使其走向生活,接受来自民间的生命滋养;可吸收借鉴一些新的戏剧观念和新的艺术表现形式,进一步发掘和拓展其广阔的艺术空间。
In the real cultural context, Chengdu puppets and shadow puppets need further space for survival and development, and the full expression and development of frozen puppets, shadow puppets, and living people need to be fully explored The art of tension between the plot, in order to start digging deeper into the audience’s artistic imagination; need to pay attention to the construction of the script, but to avoid simple “technology expansion”; need to firmly grasp their own artistic body, not just deliberately To imitate local local theater. Chengdu puppet, shadow play in the pursuit of exquisite, but also pay attention to its innate charm of the wild, based on unique cultural life in Chengdu, relying on the campus culture, teahouse culture, community culture, make it to life, accept from Nourishing folk life; can learn from some new ideas and new theatrical expression, to further explore and expand its vast space for art.