指示于伶而改进于剧——论《半月剧刊》剧评的三个维度

发布时间：2018-05-18 14:24

  本文选题：《半月剧刊》 + 京剧批评　； 参考：《戏曲艺术》2017年03期

【摘要】：本文分析北平《半月剧刊》中剧评的三个维度:一是把演员放到"剧"中品评,并对"剧评"这一文体进行反思;二是剧评人从演员的"行当意识"和"角色意识"出发,形成了统一的"批评规范";三是关注童伶成长,并避开党争,力求公允,使京剧批评更理性、更规范。本文指出,"指示于伶而改进于剧"是《半月剧刊》的剧评思想:以伶人表演为批评重心,契合"场上之道",形成了京剧的本体意识,并对初步确立的京剧批评范式有所推进。
[Abstract]:This paper analyzes the three dimensions of drama criticism in Beiping's Bi-Moon Drama: one is to put actors and actresses in "drama", and the other is to reflect on the style of "drama criticism", and the second is to start from the actors'"professional consciousness" and "role consciousness". The third is to pay attention to the growth of child actors, to avoid the party controversy, to strive for fairness, and to make the criticism of Beijing Opera more rational and standardized. This paper points out that "instructing Yu Ling to improve on the opera" is the critical thought of "Bi-Moon Opera": taking the actor's performance as the focus of criticism, fits the "road on the court", forms the ontology consciousness of Beijing Opera, and promotes the initially established pattern of criticism of Beijing Opera.
【作者单位】： 中国传媒大学艺术研究院;
【分类号】：J821
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本文编号：1906173