【摘要】：中國傳統(tǒng)戲曲在解決現(xiàn)實生活體驗如何戲劇化的問題上,并不遵從"沖突"的理論框架,而是強調(diào)通過物我關(guān)系的設(shè)置來突顯劇中人物在特定環(huán)境中的困境與情感表達(dá)。因此在折子戲中有大量非沖突情節(jié)的存在,但它們又是極富舞臺意味的存在。造成這種現(xiàn)象的可能性在于,由生活真實到舞臺創(chuàng)造,是在原型基礎(chǔ)上通過"等效性"的藝術(shù)轉(zhuǎn)化而帶來的一種對現(xiàn)實行動表象的感性影寫。
[Abstract]:In solving the problem of how to dramatize the real life experience, the traditional Chinese opera does not follow the theoretical framework of "conflict", but emphasizes that the dilemma and emotional expression of the characters in the play in a specific environment are highlighted through the setting of the relationship between the material and the self. Therefore, there are a large number of non-conflicting plots in the zhuanzi drama, but they are extremely stage-rich existence. The possibility of this phenomenon lies in the fact that the creation from the real life to the stage is a kind of perceptual writing on the actual action surface brought about by the artistic transformation of "equivalence" on the basis of the archetype.
【作者單位】： 四川省藝術(shù)研究院;
【分類號】：J825
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本文編號：2257952