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《福建戏剧》1987年第一期刊登曹实的《戏曲表演体验的特殊性质管见》一文说,戏曲是用载歌载舞的方式反映生活的。它并不停留于一般的体验阶段,也不满足于对体验作一般与现实相对照的反映。比如,戏曲表演的体验,就不怎么受贯串动作的约束,可以随意进出;而体验的尺度和程度也因环境可长可短,可大可小,可多可少。足见戏曲表演在体验之上,分明有着自己另外的追求的。这追求不是别的,恰是我国各类艺术共同向往的,——中国古典美学的至高品格层次——“传神”。
In the first issue of Fujian Drama published in 1987, Cao Shi’s article entitled “The Special Nature of Opera Performance Experiences” said that opera is a way of life with singing and dancing. It does not stop at the general stage of experience, nor is it satisfied with reflecting the experience in general and in reality. For example, the performance of a traditional opera performance is less subject to constant movement and is free to enter and exit. The scale and extent of experience may also vary depending on the environment. Enough to show opera performance in the experience above, clearly have their own additional pursuit. This pursuit is nothing but the common desire of all kinds of art in our country - the highest character of Chinese classical aesthetics - “vivid.”