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针对当前戏曲界存在以“有没有塑造鲜明的人物形象”作为“戏曲表演成功与否的铁定标准”的现象,贾志刚在《塑造形象真的是戏曲表演的最高境界吗》中提出“戏曲表演的最高境界是创造意象,并非塑造形象”的观点,得到了戏曲界的关注,并引起了学术争论。李伟、杨光认为贾志刚的观点有欠周延,并提出“戏曲表演的最高境界是传(人物之)神”的见解。近些年有关构建中国戏曲表演理论体系的呼声渐高,对于戏曲表演理论体系是什么,怎么建构,戏曲表演的最高境界是什么,是一元的还是多元等等,是大家研究和思考的核心问题。本刊刊发李伟、杨光一文,希望能够促进学界针对以上问题进行广泛而深入的探讨。
In response to the phenomenon that the traditional opera circles exist as “the ironclad standard” for the success or failure of the performance of the traditional Chinese opera, whether “shaping the image is really the highest stage in the performance of the traditional Chinese opera” is put forward “The highest level of opera performance is to create the image, not to shape the image ” point of view, get the attention of the opera circles, and caused academic controversy. Li Wei and Yang Guang believe that Jia Zhigang’s opinions are not well-established and suggest that “the highest level of opera performance is the transmission of God’s character.” In recent years, there is a growing call for building a theoretical system of Chinese opera performance. What is the theoretical system of opera performances, how the construction is constructed, whether the highest level of performance of the opera is one yuan or pluralism, and so on are the core issues of our study and reflection . The publication of Li Wei, Yang Guangwen, hoping to promote the academic community to conduct more extensive and in-depth discussion of these issues.