【摘要】：正這次來南充參加木偶藝術(shù)節(jié),我在短短的兩天里看了幾場演出,感觸非常深。當(dāng)我坐在劇場里時,就有一種強(qiáng)烈的感受,我想到的是如何把木偶藝術(shù)這樣一種讓人快樂的藝術(shù)還給人民。在一段相當(dāng)長的時期里,無論是政府還是社會公眾,包括業(yè)內(nèi)人士,在人們的視野里,木偶被看成是一門比較邊緣的藝術(shù)。一方面,是從主流藝術(shù)的角度看,它并不占據(jù)重要的位置;在另一個方面,當(dāng)民間藝術(shù)廣闊的空間被擠壓了以后,木偶的生存與發(fā)展的可能性就變得非常少�？墒俏覀兌家庾R到
[Abstract]:This time I came to Nanchong to attend the Puppet Art Festival. I watched a few performances in just two days and felt very deeply. When I sat in the theater, I had a strong feeling about how to return puppet art to the people. For a long time, both the government and the public, including people in the industry, puppets are seen as a marginal art. On the one hand, from the perspective of mainstream art, it does not occupy an important position; on the other hand, when the vast space of folk art is squeezed, the possibility of the survival and development of puppets becomes very few. But we all realized
【作者單位】： 中國文藝評論家協(xié)會;中國戲曲學(xué)院;
【分類號】：J827
，

本文編號：2516501