本文選題：戲曲藝術(shù) + 藝術(shù)作品　； 參考：《藝術(shù)百家》2016年01期

【摘要】："形式因"對戲曲藝術(shù)這種純粹的藝術(shù)樣式而言是最重要的。形式自身就具有一種審美意蘊。所謂"內(nèi)容"是充分包含了成熟的形式因在內(nèi)的。京劇藝術(shù)是發(fā)展得最完善、最純粹的一種藝術(shù)樣式,它是充分的用形式消滅了它的內(nèi)容而生成的最高審美的觀念藝術(shù)。梅蘭芳訪問蘇聯(lián)是中國戲曲藝術(shù)審美觀念真正影響西方戲劇向"東"看的開端。中國傳統(tǒng)戲曲藝術(shù)的主要性質(zhì)并不是以歌舞演故事,而是將已真相大白的故事梗概加以極其復(fù)雜化、艱奧化、美輪美奐的唱念做(舞)打的審美呈現(xiàn)。由于深深受到了圍繞在身邊留學(xué)、游學(xué)西方的文人價值觀念的影響,無論從劇目還是表演理念上看,梅蘭芳的京劇表演很大程度上已經(jīng)不是傳統(tǒng)意義上的古典藝術(shù)。
[Abstract]:The form cause is the most important for the pure artistic style of opera art. Form itself has an aesthetic implication. The so-called "content" fully includes mature formal causes. The art of Beijing Opera is the most perfect and purest art style. It is the highest aesthetic concept art that has been formed by eliminating its content with sufficient form. Mei Lanfang's visit to the Soviet Union was the beginning of the Chinese opera aesthetic concept that really influenced the western drama to the East. The main nature of Chinese traditional opera art is not to sing and dance the story, but to complicate the truth of the story, difficult, beautiful singing and singing (dance) of the aesthetic presentation. Deeply influenced by the literati values around studying abroad and studying in the West, Mei Lanfang's Peking Opera performance is to a large extent not a classical art in the traditional sense, either from the repertoire or from the performing concept.
【作者單位】： 武漢大學(xué)哲學(xué)學(xué)院;
【分類號】：J80-02

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