庙堂仪礼与巫觋表演——《诗经》《九歌》中的戏曲因素和戏曲品性

发布时间：2018-03-23 01:12

  本文选题：《诗经》　切入点：《楚辞》　出处：《文化艺术研究》2016年03期 　论文类型：期刊论文

【摘要】：《诗经》中的"桑间濮上之歌"走进朝堂并与"朝廷之音"相结合,为王宫廷堂上的"雅乐"补充了质野鲜活的血液,尤其一些"对话"形式的歌谣,具有初始形态的戏曲品性,为综合性表演艺术的出现创造了条件;《楚辞》的某些篇章同样拥有鲜明的戏曲因子,《九歌》歌舞并重,结构完整,情节曲折离奇,且多是装扮表演,不论整体结构,抑或祭祀过程中的场上演出,均体现出鲜明的戏曲品性。尤其是华美的唱词(或曰"歌词")、意向明确的装扮表演、描绘细腻的心理活动、刻画丰满的人物形象以及笼罩全场的诗意性和浓郁的抒情性,体现出戏曲艺术初始形态的鲜明特性。
[Abstract]:The Song of the Sangjianpu in the Book of songs goes into the Chaotang and combines it with the Voice of the Court. It replenishes the "elegant music" in the Royal Court Hall with fresh blood, especially some songs in the form of "dialogue". With its initial form of drama, it creates conditions for the emergence of comprehensive performing arts. Some chapters of "Chuci" also have distinct opera elements, "Nine songs" with equal emphasis on song and dance, complete structure, twists and turns of plot, and most of them dress up and perform. Both the overall structure and the performances on the pitch in the course of sacrificial sacrifice are characterized by distinct opera characters, especially beautiful lyrics (or "lyrics"), well-intended performances that depict delicate psychological activities. The portrayal of the full figure and the poetic and lyricism of the whole audience reflect the distinctive characteristics of the initial form of the opera art.
【作者单位】： 中国戏曲学院戏曲研究所;
【基金】：北京市社会科学基金资助项目“近代戏曲美学思想的形成与演变研究”(项目编号:14WYB038)的阶段性成果
【分类号】：I207.22
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本文编号：1651220