论文部分内容阅读
一戏剧作为一种观念形态,无论重在写实还是重在写意,就其本质而言,都是对于社会生活的一种能动的反映。而社会生活是一个在对立统一的矛盾运动中不断变化和发展着的动态结构,是一条贯古通今的流动的河。因此,戏剧在其演进的过程中,总要不断地进行相应的变革,以求同社会发展相适应。一般说来,戏剧与其赖以生存和发展的时代始终是处于既相适应又相矛盾的状态。适应是相对的,矛盾是绝对的。在社会的经济体制、生活方式、文化结构和审美意识发生重大变革的时代,其不相适应的一面往往会较为明显地呈现出来,而这一矛盾的克服,也往往恰好是戏剧向前跃进的转折点。中国戏曲,伴随着社会的发展和时代的变迁,由
As a kind of ideology and shape, no matter whether the emphasis on realistic writing or the freehand expression is by its very nature, drama is an active reflection of social life. The social life is a dynamic structure that constantly changes and develops in the contradiction and opposition of opposites. It is a flowing river from ancient to modern times. Therefore, in the process of its evolution, drama must always make the corresponding changes in order to adapt to the social development. Generally speaking, the era of drama and its survival and development has always been both in a state of accommodation and contradiction. Adaptation is relative, contradiction is absolute. In an era when major changes have taken place in the economic system, life style, cultural structure and aesthetic awareness of society, the incompatible aspects tend to be more clearly shown. Overcoming this contradiction often happens to be a dramatic leap forward Turning point. Chinese opera, accompanied by social development and changes in the times, by