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中国戏曲是否属于戏剧这个大家族的问题迄今为止仍在学术界受到争论,中国戏曲与我们所说的戏剧的其他形式如话剧、歌剧、舞剧相比,虽有自己的独特性,但也有着如同其他戏剧形式的共性特征,就我们看到的完整的戏曲而言,它符合吴戈先生对戏剧的定义,即:以演员的生理条件为中心媒介,当众叙演一定长度的故事,观众与演员以假定性为写作活动前提的艺术活动。从定义来看,戏剧强调的是故事演出,但就中国戏曲发展的历史和当代的一些现象而言,却存在着以技艺展示为中心而非叙事来进行的戏曲观演活动,像《东坡梦》这种令读者津津乐道,现在却不易上演的剧本,它们都属于中国戏曲的范围,并且从起源来讲,中国戏曲与我们所说的以西方为中心的“戏剧”也不大相同,因此将戏曲归于戏剧范畴似乎显得有些唐突。
The issue of whether Chinese opera belongs to the big family of drama is still controversial in academia to date. Chinese opera has its own uniqueness in comparison with other forms of drama we call drama, opera and dance. In terms of the complete drama that we have seen, the common characteristics of other forms of drama are in line with Mr. Wu Ge’s definition of drama, namely: a certain length of story is to be performed in public with the physiological condition of the actor, the audience and the actors Art activity based on presumption as a writing activity. In terms of definition, the drama emphasizes on the performance of the story. However, as far as the history of Chinese opera development and some contemporary phenomena are concerned, there exists a performance of opera performances centered on art shows rather than narration. Dream “is a play that makes readers relish, but now is not easy to play, they all belong to the scope of Chinese opera, and from the origin, Chinese opera and we call the West as the center of” drama "nor The same, so the drama attributed to the category of drama seems a bit abrupt.