【摘要】：電視的普及對中國傳統(tǒng)戲曲藝術(shù)來講既是挑戰(zhàn)，又是機遇。它不僅為戲曲傳承提供了新的載體，同時也豐富了電視藝術(shù)的表現(xiàn)內(nèi)容。改革開放以來，電視戲曲進入了蓬勃發(fā)展的新時期，對這一藝術(shù)形式的研究也呈現(xiàn)出“百花齊放，百家爭鳴”的良好局面：研究意識有所增強，，研究隊伍不斷壯大，研究內(nèi)容和領(lǐng)域也大有拓寬，為我國電視戲曲藝術(shù)的發(fā)展做出了不小的貢獻。然而，電視戲曲的發(fā)展并非一帆風順，直至目前，這一新興藝術(shù)類型并非廣大人民群眾喜聞樂見的藝術(shù)形式之一，其藝術(shù)地位也遠遠低于其它電視藝術(shù)形式。在理論建設(shè)方面，電視戲曲理論研究也仍舊處于起步階段，對于許多本質(zhì)性、基礎(chǔ)性問題的認識還比較模糊，也沒有達成共識。在處理和解決這類問題的方法上也沒有明確的規(guī)定和統(tǒng)一的準則。電視戲曲發(fā)展過程中的種種現(xiàn)實狀況也就意味著電視戲曲從創(chuàng)作到理論研究尚處于不成熟的階段，有待于廣大學(xué)者進一步探索。 本文將理論與具體資料相結(jié)合，把近三十年電視戲曲研究的內(nèi)容劃分為本質(zhì)和藝術(shù)形態(tài)、發(fā)展狀況、美學(xué)、創(chuàng)作以及戲曲電視劇專題五個部分。通過對具體資料的分析、梳理，詳細地闡述了這一時期電視戲曲研究領(lǐng)域中的主要內(nèi)容和成果，并在電視與戲曲聯(lián)姻的方式方法以及電視戲曲本體研究等方面發(fā)表了自己的見解和看法。如電視戲曲要盡快建立一套屬于自己的語言系統(tǒng)來解決電視與戲曲寫實和寫意的矛盾；電視戲曲表演要貼近生活；在美學(xué)研究方面要注重對電視戲曲美學(xué)本體價值的探索等等。本文在對近三十年電視戲曲研究狀況進行回顧與反思后，還分析了本時期電視戲曲研究繁榮的主要原因，歸納了研究方法，指出了研究中存在的缺陷和不足，并表明了電視戲曲研究的意義與作用，提出了對電視戲曲發(fā)展和電視戲曲理論建設(shè)較為具體的意見和建議，力求為電視戲曲這門藝術(shù)的成長貢獻一點綿薄之力。
[Abstract]:The popularization of TV is both a challenge and an opportunity for Chinese traditional opera art. It not only provides a new carrier for opera inheritance, but also enriches the performance of TV art. Since the reform and opening up, TV drama has entered a new period of vigorous development. The research on this art form also presents a good situation of "a hundred flowers blossom, a hundred schools of thought contend": the research consciousness has been strengthened, and the research team has been growing. The research contents and fields have also been greatly broadened, which has made a great contribution to the development of Chinese TV opera art. However, the development of TV opera is not smooth sailing, up to now, this new art type is not one of the popular art forms, and its artistic status is far lower than other TV art forms. In the aspect of theoretical construction, the theoretical study of TV drama is still in its infancy. There are also no clear rules and uniform guidelines on how to deal with and solve such problems. All kinds of realistic conditions in the development of TV drama also mean that the TV opera is still in an immature stage from creation to theoretical research, which needs to be further explored by many scholars. In this paper, the author combines the theory with the specific materials, and divides the content of the research on TV drama into five parts: essence and artistic form, development, aesthetics, creation and drama. Through the analysis of the specific materials, this paper expounds in detail the main contents and achievements in the field of TV drama research in this period. The author also puts forward his own opinions and opinions on the combination of TV and opera, as well as the study of TV opera itself. For example, TV opera should establish its own language system as soon as possible to solve the contradiction between TV and drama realism and freehand brushwork; TV opera performance should be close to life; in aesthetic research, attention should be paid to the exploration of the aesthetic value of TV opera aesthetics, and so on. After reviewing and reflecting on the research situation of TV drama in the past 30 years, this paper also analyzes the main reasons for the prosperity of TV drama research in this period, summarizes the research methods, and points out the defects and shortcomings in the research. It also shows the significance and function of the study of TV opera, and puts forward some concrete opinions and suggestions on the development of TV opera and the construction of TV drama theory, and tries to contribute a little bit to the growth of TV drama.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J805

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