戏曲:“全息”思维观念的艺术产物1

发布时间：2018-03-18 06:10

本文选题：全息艺术　切入点：戏曲文化　出处：《戏剧(中央戏剧学院学报)》2015年01期 　论文类型：期刊论文

【摘要】：本文探究了戏曲与古老的、传统的“全息”思维观念的关系。笔者认为中国人的“全息”思维观念,恰是制约戏曲艺术生成与发展的内在文化原动力,其不但引导着戏曲艺术的生命成长,缔造了戏曲艺术的形式特征,甚至也是导致戏曲晚成的诸多因素之一。而在戏曲成熟之后,中国的“全息”思维,从观念形态的高度把戏曲“综合”艺术特征固定下来,强化起来,使之不能够变化,不能够分化,使得戏曲以其自古以来不变其“全息”之本的艺术形态,傲然屹立于世界戏剧艺术之林。
[Abstract]:This paper probes into the relationship between opera and the ancient and traditional "holographic" thinking concept. The author thinks that the Chinese "holographic" thinking concept is the internal cultural motive force that restricts the formation and development of opera art. It not only guides the life growth of the opera art, but also creates the formal characteristics of the opera art, and even is one of the many factors leading to the late success of the opera. And after the drama matures, the Chinese "holographic" thinking, From the perspective of ideologies, the artistic features of "synthesis" of opera are fixed and strengthened, so that they cannot be changed and can not be differentiated, so that the traditional Chinese opera has remained unchanged in its artistic form of "holography" since ancient times. Stands proudly in the world drama art forest.
【作者单位】：中央戏剧学院戏剧文学系;
【分类号】：J82

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