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近几年,“戏曲危机”之声鼎沸。对中国戏曲的前途和命远,有人感叹,有人反思,有人哀其不幸,有人怒其不争。诚可谓“仁者见仁,智者见智”。戏曲界的喧嚣与骚动,不能不说是一件好事,从中可看出人心思变的社会风气,和现代社会对传统的戏曲艺术提出了新的要求。中国戏曲如何既留存自身独特的审美勉力,又顺应现代社会在审美观念上的嬗变,是问题的根本所在。本文不揣浅陋,拟从艺术民间性这一角度,对黄梅戏艺术的审美特质及其发展走向进行探讨,以期引起戏曲界对戏曲民间性的关注。
In recent years, the “drama crisis” voices. Some people sigh about the future and life of Chinese opera. Some people reflect on it. Some people mourn the misfortune. Some people are indignant about it. Sincerity can be described as “benevolent see benevolence, wise see the wisdom.” The hustle and bustle of the opera industry can not but be regarded as a good thing. From this we can see that the social atmosphere of changing people’s hearts and minds set new demands on the traditional drama art in modern society. How can Chinese opera not only retain its unique aesthetic appeal but also conform to the evolution of modern society in aesthetic conception, which is the fundamental problem. This article does not humble the shallow, it is proposed to discuss the aesthetic characteristics of Huangmei opera art and its development from the perspective of folk art, with a view to arousing the concern of the opera circles about the folkness of opera.