论文部分内容阅读
陈贻亮在《福建戏剧》1987年第三期发表的《戏曲程式的符号结构及其民族特性》一文中说,可从汉字结构去探讨戏曲程式的结构。汉字造字法归纳为象形、指事、会意、形声、转注、假借。戏曲程式的结构即沿着此法发展而来。因此,对于戏曲程式可得到几点新的认识:一、戏曲程式符号是本民族远祖遗传的符号密码,汉字便是这密码的基因。二、戏曲程式具有可观性与可感性。可感性寓于可观性之中。三、
In his article “The Symbolic Structure and Ethnic Characteristics of the Opera Program” published by Fujian Drama in the third issue of 1987, Chen Yi-liang said that the structure of the opera program can be explored from the Chinese character structure. Characterization of Chinese characters summarized as a pictorial, referring to things, knowing, shaped sound, note transfer, under the guise of. The structure of the opera program evolved along the way. Therefore, for the opera program can get a few new understanding: First, the opera program symbol is a symbol of the genetic code of the ancestor of this nation, Chinese characters are the genes of this code. Second, the opera program has considerable and sensible. Sensibility lies in the observability. three,