论昆曲的浪漫主义审美艺术特色

发布时间：2018-04-25 08:18

本文选题：昆曲 + 浪漫主义　；参考：《山东师范大学》2011年硕士论文

【摘要】：中国古代浪漫主义精神体现于形式(神话运用、夸张拟人等)和内容(作者或百姓的情感意志)两部分,在艺术创作中使用夸张的手法和大胆的比拟,充满了强烈的主观情感,具有丰富的想象力。昆曲特点主要是细腻悠长的“水磨腔”、歌舞统一的表演形式,它是几百年来社会文化历史的积淀,其美学价值在于借助于剧本和舞台表演对浪漫主义精神的表现。昆曲体现出中国古代浪漫主义精神具有其特殊的历史时代背景和心理基础,它成功抒发了剧作家的情感,完美诠释了作品,得到社会民众的肯定,成为高度综合、形神俱佳的艺术形式。本文通过对中国古代浪漫主义精神的阐释,进步论述昆曲独特的戏剧品格,肯定昆曲具有浪漫主义的审美风格,并借用西方浪漫主义的发展现状推演昆曲的发展方向。在论述中以辩证唯物主义与历史唯物主义为指导,主要采用文献研究、历史研究、比较研究方法,最终形成论文。论文分三个部分。第一部分,对比中西方对浪漫主义的不同界定。首先介绍西方浪漫主义的定义和发展概貌,其次结合中国古代文学艺术实际情况,尝试定义中国古代浪漫主义精神及其创作方法。浪漫主义精神首先表现在抒情性上,在反映现实生活时,它不拘泥于外在形态,追求主观情感的强烈表达和形式的自由奔放,具有理想主义色彩。第二部分具体分析昆曲的浪漫主义审美风格。首先通过和其他戏曲形式的对比概括昆曲独特的戏曲品格。昆曲符合当时人们心理上净化身心、获得愉悦感的审美需求,具有娱乐大众功能,同时具有典型的地域特点。昆曲比京剧等北方剧种细腻委婉,比黄梅戏等同类剧种大气、有文学性。其次,结合剧作家和具体作品分析昆曲的浪漫主义审美艺术特色。先分析剧作家的生活历史背景和创作心理,然后从剧本和表演形式两方面具体说明浪漫主义的审美风格。昆曲所采用的剧本使用了神话传说等夸张手法,表达出剧作家原本的所思所想,传神地演绎出剧中人物。表演形式中动作的适度夸张充满美感,配合唱词做好指示说明作用,并推动了情节的发展、表达出戏中人的情感。第三部分通过西方浪漫主义的发展情况推演昆曲的发展问题。西方浪漫主义在历史的发展中渐渐被现代主义和后现代主义替代,根据其中的演变过程和现代主义、后现代主义各自的特点尝试推测昆曲未来的发展方向。在现实发展中,同其他中国戏曲的传承一样,昆曲的发展也面临着创新还是复古的问题,相关部门、演员、学者都做了多方面的尝试,但效果如何还需要时间的检验。
[Abstract]:The spirit of romanticism in ancient China is embodied in two parts: form (mythological application, exaggeration, personification, etc.) and content (the emotional will of the author or the common people). In artistic creation, the use of exaggerated techniques and bold analogy is full of strong subjective feelings. Have a rich imagination. Kunqu Opera is characterized by its delicate and long "water grinding cavity", a unified form of singing and dancing, which is the accumulation of social culture and history for hundreds of years. Its aesthetic value lies in the expression of romantic spirit by means of scripts and stage performances. Kunqu Opera embodies the ancient Chinese Romantic spirit with its special historical background and psychological foundation. It successfully expresses the feelings of playwrights, interprets the works perfectly, and gets the affirmation of the public and becomes a highly comprehensive one. A form of art in which form and spirit are excellent. Based on the interpretation of the romantic spirit of ancient China, this paper expounds the unique dramatic character of Kunqu Opera, affirms its romantic aesthetic style, and deduces the development direction of Kunqu Opera by using the present development situation of western romanticism. Under the guidance of dialectical materialism and historical materialism, literature research, historical research and comparative research methods are used to form the thesis. The paper is divided into three parts. The first part contrasts the different definitions of romanticism between China and the West. This paper first introduces the definition and development of romanticism in the West, and then tries to define the spirit of Romanticism in ancient China and its creative methods according to the actual situation of ancient Chinese literature and art. The Romantic spirit is first expressed in lyricism. When it reflects the real life, it is not confined to the external form, and pursues the strong expression of subjective emotion and the freedom of form, which has the color of idealism. The second part analyzes the romantic aesthetic style of Kunqu Opera. Firstly, it summarizes the unique character of Kunqu Opera by comparing with other opera forms. Kunqu Opera meets the aesthetic demand of purifying body and mind psychologically and obtaining the sense of pleasure. It has the function of entertaining the public and has the typical regional characteristics at the same time. Kunqu Opera is more delicate and euphemism than Beijing Opera and other similar operas such as Huangmei Opera. Secondly, combined with playwright and concrete works to analyze the romantic aesthetic characteristics of Kunqu Opera. This paper first analyzes the playwright's historical background and creative psychology, and then explains the romantic aesthetic style from two aspects: script and performance form. Kunqu Opera uses dramatic techniques, such as myths and legends, to express the playwright's original thoughts and thoughts, and vividly deduce the characters of the play. The moderate exaggeration of the action in the form of performance is full of aesthetic feeling, with the singing words to do a good job of indicating the role, and to promote the development of the plot, to express the feelings of the people in the play. The third part deduces the development of Kunqu Opera through the development of western romanticism. Western romanticism is gradually replaced by modernism and postmodernism in the development of history. According to the evolution process and the characteristics of modernism, postmodernism tries to speculate on the future development direction of Kunqu Opera. In the development of reality, like the inheritance of other Chinese operas, the development of Kunqu Opera is also faced with the question of innovation or retro. Relevant departments, actors and scholars have made many attempts, but the effect still needs time to test.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J825

【引证文献】