【摘要】："五四"舊戲論爭的本質(zhì)在于傳統(tǒng)藝術(shù)觀和現(xiàn)代藝術(shù)觀的一次正面碰撞,它對(duì)中國戲曲的發(fā)展影響深遠(yuǎn)。雖然《新青年》和張厚載都存在學(xué)理上的缺陷和態(tài)度上的偏激,但這并不影響我們反思這場論爭的價(jià)值。如果后人能同時(shí)汲取張厚載熟悉戲曲舞臺(tái)藝術(shù)規(guī)律的長處和《新青年》所擁有的世界眼光與批判精神,那就有可能比前人更好地研究中國戲曲。正是在這個(gè)意義上,"五四"舊戲論爭成為了現(xiàn)代戲曲研究的起點(diǎn)。
[Abstract]:The essence of the "May 4th" old drama debate lies in the positive collision between the traditional art view and the modern art view, which has a far-reaching influence on the development of Chinese opera. Although both New Youth and Zhang Houzai have theoretical defects and extreme attitudes, this does not affect the value of our reflection on this argument. If future generations can learn the strong points of Zhang Houtai's familiarity with the art law of opera stage and the world vision and critical spirit of "New Youth", it is possible to study Chinese opera better than the predecessors. It is in this sense that the May 4th debate over the old drama has become the starting point of the study of modern opera.
【作者單位】： 南京大學(xué)文學(xué)院;
【分類號(hào)】：J809.2

【相似文獻(xiàn)】

相關(guān)期刊論文 前1條

1 趙得昌;;試論近代韓國的舊戲改良[J];牡丹江大學(xué)學(xué)報(bào);2012年01期

，

本文編號(hào)：2446826