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张庚老师曾希望阿甲先生把更多时间用来研究、总结戏曲的表演体系。阿甲先生对戏曲表演体系的研究,始于20世纪50年代后期的两篇文章:《生活的真实和戏曲表演艺术的真实》、《再论生活的真实和戏曲表演艺术的真实》。他长期的研究中,对程式与生活的关系做了归纳,提出中国戏曲是在表现基础之上的再现艺术,深入论述了对“间离”与“幻觉”两者关系认识。从生活与艺术的关系到艺术方法,再到最高美学原则,阿甲先生通过这三个层次的论述,已经明确表达了他对中国戏曲表演体系的认识和理解。
Teacher Zhang Geng had hoped Mr A Jia would spend more time studying and summarizing the performance system of opera. Mr. A Jia’s study of the performance system of Chinese opera began with two articles in the late 1950s: “The Real Life and the Performing Arts of the Traditional Opera,” “Revisiting the Truth of Life and the Performing Arts of Traditional Opera.” In his long-term research, he summed up the relationship between programming and life, and proposed that Chinese opera is a reproduction art based on performance, and further elaborated on the understanding of the relationship between “separation” and “hallucination.” From the relationship between life and art to the method of art, to the highest aesthetic principle, through these three levels of discussion, Mr. A Jia has clearly expressed his understanding and understanding of the Chinese drama performance system.