本文選題：李光羲 + 詩外之功��； 參考：《音樂創(chuàng)作》2017年07期

【摘要】："言有盡而意無窮"是中國(guó)傳統(tǒng)藝術(shù)的審美追求,也是從事藝術(shù)創(chuàng)作最難把握的狀態(tài)。因?yàn)樗鼪]有具體標(biāo)準(zhǔn)和形式,更沒有可以模仿的范本。它蘊(yùn)含在具體的藝術(shù)形象之中,構(gòu)成"此在"又"彼在"的審美過程。在中國(guó)傳統(tǒng)藝術(shù)的千百年的發(fā)展過程中,對(duì)"言有盡而意無窮"的追求絲毫沒有停滯過,逐漸的摸索出了一個(gè)叫做"詩外之功"的東西,"詩外之功"把藝術(shù)引向"言有盡而意無窮"的審美境界。然而,"詩外之功"的概念也不算具體,藝術(shù)門類的不同,具體實(shí)踐者的個(gè)體特點(diǎn)的差異都模糊化了這個(gè)概念。康德著名的二律背反原理,即藝術(shù)的合目的而無目的性與"詩外之功"有著內(nèi)在聯(lián)系。本文通過對(duì)歌劇表演藝術(shù)家李光羲藝術(shù)歷程和成就的分析來探討"詩外之功"的詩意境界。
[Abstract]:It is the aesthetic pursuit of Chinese traditional art and the most difficult state to engage in artistic creation. Because it does not have concrete standard and form, still less can imitate model. It contains in the concrete artistic image, forms the aesthetic process of "this being" and "the other being". In the course of the development of Chinese traditional art for thousands of years, the pursuit of "having all the words but endless intentions" has not stagnated at all. Gradually groping out a thing called "the work outside the poem", "the work outside the poem" leads the art to the aesthetic realm of "the word has all but the meaning is infinite". However, the concept of "work beyond poetry" is not specific, the different categories of art, the differences of individual characteristics of specific practitioners have blurred the concept. Kant's famous two-law reciting principle, that is, the purpose of art without purpose, has an internal relation with "the work beyond poetry". By analyzing the artistic process and achievements of opera performing artist Li Guangxi, this paper probes into the poetic realm of "work beyond poetry".
【作者單位】： 天津師范大學(xué)音樂與影視學(xué)院聲樂系;
【基金】：天津市藝術(shù)科學(xué)規(guī)劃項(xiàng)目編號(hào):A14044
【分類號(hào)】：J616

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本文編號(hào)：2078740