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读了《戏剧报》去年第十期李洁非、张陵《关于“京剧革新”的美学沉思》(以下简称《美学沉思》)的文章,有些想法。这种“沉思”可以说是当前戏曲理论界普遍的思考。因为作为一代人,我们都深深地感到,传统戏曲由于新时代生活内容的冲击而面临了严重的挑战,为了挽救戏曲面临的危机,人们正在不断地探索戏曲改革的新途径。戏曲要改革,要灌注新生活的内容。必须首先认识戏曲艺术的本质特性和把握其创作规律,以避免盲目的实践。故此试抒己见,以资讨论。
Read some articles from The Drama Newspaper last year, Li Jiefei and Zhang Ling’s Aesthetic Contemplation of Peking Opera Reform (hereinafter referred to as “aesthetic contemplation”). This kind of “meditation” can be said to be a common reflection in the current theoretical circles of opera. Because as a generation, we all deeply feel that traditional drama faces serious challenges due to the impact of the contents of the new era. In order to save the crisis facing the drama, people are constantly exploring new ways of opera reform. Drama to reform, to infuse the content of new life. We must first understand the essential characteristics of opera art and grasp its law of creation in order to avoid blind practice. Therefore try to express my opinion, in order to discuss.