广场VS舞台——藏戏表演场合变迁论

发布时间：2018-03-15 06:17

本文选题：藏戏　切入点：非物质文化遗产　出处：《西藏研究》2017年04期 　论文类型：期刊论文

【摘要】：藏戏是藏区戏曲系统中诸多剧种和流派的统称。传统藏戏在广场等空旷地带演出,现代藏戏呈现出舞台化演出趋势。广场表演利于观众与演员之间的交流,且体现出民主性和自由性;舞台表演则弱化二者交流,观众位置固定,演员被局限于舞台。从观演一体的传统广场戏发展到观演隔离的现代舞台戏,受各种因素影响。舞台化趋势对藏戏这项非物质文化遗产而言,利弊参半。藏戏的传承和发展需要注重原生态,要打破"第四堵墙"和所有的"墙",创造观演一体的交流氛围。
[Abstract]:Tibetan opera is a general term for many kinds of plays and schools in the Tibetan opera system. Traditional Tibetan opera is performed in open areas such as squares, and modern Tibetan opera shows a trend of stage performance. Square performances are conducive to the communication between the audience and the actors. The stage performance weakens the communication between the two, the audience position is fixed, and the actors are confined to the stage. Influenced by all kinds of factors, the trend of stage is not good or bad for the intangible cultural heritage of Tibetan opera. The inheritance and development of Tibetan opera need to pay attention to the original ecology, to break the "4th walls" and all the "walls", and to create an atmosphere of communication.
【作者单位】：西藏民族大学;
【基金】：教育部人文社会科学研究西部和边疆地区项目“西藏民族民间游艺调查及其旅游开发研究”(项目编号:16XJC850002)阶段性成果
【分类号】：J825

【相似文献】