本文選題：《半月劇刊》 + 京劇批評(píng)��； 參考：《戲曲藝術(shù)》2017年03期

【摘要】：本文分析北平《半月劇刊》中劇評(píng)的三個(gè)維度:一是把演員放到"劇"中品評(píng),并對(duì)"劇評(píng)"這一文體進(jìn)行反思;二是劇評(píng)人從演員的"行當(dāng)意識(shí)"和"角色意識(shí)"出發(fā),形成了統(tǒng)一的"批評(píng)規(guī)范";三是關(guān)注童伶成長(zhǎng),并避開黨爭(zhēng),力求公允,使京劇批評(píng)更理性、更規(guī)范。本文指出,"指示于伶而改進(jìn)于劇"是《半月劇刊》的劇評(píng)思想:以伶人表演為批評(píng)重心,契合"場(chǎng)上之道",形成了京劇的本體意識(shí),并對(duì)初步確立的京劇批評(píng)范式有所推進(jìn)。
[Abstract]:This paper analyzes the three dimensions of drama criticism in Beiping's Bi-Moon Drama: one is to put actors and actresses in "drama", and the other is to reflect on the style of "drama criticism", and the second is to start from the actors'"professional consciousness" and "role consciousness". The third is to pay attention to the growth of child actors, to avoid the party controversy, to strive for fairness, and to make the criticism of Beijing Opera more rational and standardized. This paper points out that "instructing Yu Ling to improve on the opera" is the critical thought of "Bi-Moon Opera": taking the actor's performance as the focus of criticism, fits the "road on the court", forms the ontology consciousness of Beijing Opera, and promotes the initially established pattern of criticism of Beijing Opera.
【作者單位】： 中國(guó)傳媒大學(xué)藝術(shù)研究院;
【分類號(hào)】：J821
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本文編號(hào)：1906173