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诗歌与戏曲是两个不同的艺术范畴。然而,中国古代诗歌与戏曲却有着密切的血缘关系。古代诗歌的基本特性,影响到古代戏曲具有诗化的特点。诗歌的诗情,使古代戏曲成为一种诗剧。本文从诗情与诗剧的角度,来论述古代戏曲的诗化,并从中看出古代戏曲的审美特征。中国古代戏曲的诗化,从形式上来看,最为明显的莫过于戏曲的剧本文学,即曲词和宾白了。戏曲是一门综合性艺术,它的形成过程,也就是将各种艺术逐渐综合起来的过程。从表演艺术上来看,它是从原始社会的歌舞、先秦的俳优、汉代百戏、唐代的戏弄逐步发展起来的;而在剧本文学上,则是从诗词的基础上发展起来的。如明王世真《曲藻》云:“三百篇亡,而后有骚、赋;骚、赋难入乐,而后有古乐府;古乐府不入俗,而后以唐绝句为乐府;绝句
Poetry and opera are two different categories of art. However, ancient Chinese poetry and drama have a close relationship. The basic characteristics of ancient poetry affect the poetic characteristics of ancient opera. Poetic poetry, ancient drama to become a kind of drama. From the perspective of poetic and poetic drama, this essay discusses the poeticization of ancient opera, and finds out the aesthetic characteristics of ancient opera. The poetic art of ancient Chinese opera, from the formal point of view, the most obvious is the drama drama literature, that is, the lyrics and white guest. Opera is a comprehensive art, its formation process, that is, the process of gradually integrating various arts. From the performing arts point of view, it is from the primitive society of song and dance, pre-Qin gifted gifted, the Han Dynasty 100 plays, the Tang Dynasty teasing and gradually developed; and in script literature, it is developed from the foundation of poetry. Such as the Ming Wang Shizhen “song algae” cloud: "300 death, and then Sao, Fu; Sao, Fu Fu into the music, and then the ancient Yuefu; ancient Yuefu not vulgar, and then to the Tang quatrains Yue House; Quatrains