论王晓鹰的导演艺术特色及审美取向
发布时间：2018-07-15 21:59
【摘要】： “新时期”的“戏剧观争鸣”,既是对建国十七年戏剧的总结与反思,又是为今后中国戏剧的发展、前进寻求出路。而事实上,“争鸣”是应“危机”之时爆发的。面对我国戏剧持续低迷、停滞的困境,“争鸣”之潮掀起的波澜巨大而又影响深远。总的说来,内容和形式的变革是上述现象所关注的焦点问题。在内容上,戏剧界强烈呼吁,剔除“工具论”的束缚,提升作品的思想哲理品格,把创作的中心转移到“人”的领域,即为“人学”的复苏。而在形式上,创作者早已不能满足单一的传统现实主义基调,把目光投射到“写实”戏剧以外的戏剧观念,寻求突破,即为“新现实主义”。因而,追求思想哲理,探索新的演出形式,在传统和现代的天平上寻找平衡点是新时期导演艺术的特征。 在上述大的文化背景下,中国戏剧培养了新一代优秀的导演,王晓鹰就是其中的代表。他于1984年创作《挂在墙上的老B》开始,一直活跃在中国戏剧的舞台上。得益于“戏剧观争鸣”,他能广泛吸收各种戏剧观念的营养,并创造性的体现在自己的创作中;对“假定性”的独特认识,使得他面对各种题材的作品都能驾轻就熟,而向“表现美学”的拓展,又能让他通过“诗化意象”表达自己的哲理思索。20余年的勤奋、努力,如今的王晓鹰已确立了自己的创作观念和导演艺术特色。同时也奠定了自己创作的审美取向。 本文立足于“新时期”文化语境,试图对王晓鹰独立的导演艺术特色做以科学、系统的归纳、总结。同时,亦对其创作的审美取向进行探究。另外,通过个案研究,窥探整个新时期导演艺术的状态,也是本文所观照的重点。
[Abstract]:The "drama view contending" in the new period is not only a summary and reflection of the drama of the 17th year of the founding of the people's Republic of China, but also a way out for the development of Chinese drama in the future. In fact, contending broke out at the time of crisis. In the face of the depression and stagnation of Chinese drama, the tide of "contention" is huge and far-reaching. In general, the change in content and form is the focus of attention. In terms of content, the drama circles strongly appeal to remove the shackles of "tool theory", to promote the ideological and philosophical character of the works, and to shift the center of creation to the field of "man", that is, the revival of "human studies". In form, the creators have been unable to satisfy the single tone of traditional realism and cast their eyes on the concept of drama other than "realistic" drama to seek a breakthrough, that is, "new realism". Therefore, pursuing ideological philosophy, exploring new forms of performance, and finding a balance between traditional and modern scales are the characteristics of the art of directors in the new period. Under the above cultural background, Chinese drama has cultivated a new generation of excellent directors, among which Wang Xiaoying is the representative. He began writing Old B on the Wall in 1984 and has been active on the stage of Chinese drama. Thanks to "drama view contending", he can absorb the nutrition of all kinds of drama ideas and creatively embody it in his own creation, and his unique understanding of "hypotheses" enables him to be familiar with his works of all kinds of subjects. The expansion of "expressive aesthetics" enables him to express his philosophical thinking through "poetic imagery" for more than 20 years. Wang Xiaoying has now established his own creative concept and artistic characteristics of director. At the same time, it also establishes the aesthetic orientation of its own creation. Based on the cultural context of "New period", this paper tries to make a scientific, systematic induction and summary of Wang Xiaoying's independent artistic characteristics of director. At the same time, it also explores the aesthetic orientation of its creation. In addition, through the case study, to explore the state of the whole new period director art, is also the focus of this article.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J824
[Abstract]:The "drama view contending" in the new period is not only a summary and reflection of the drama of the 17th year of the founding of the people's Republic of China, but also a way out for the development of Chinese drama in the future. In fact, contending broke out at the time of crisis. In the face of the depression and stagnation of Chinese drama, the tide of "contention" is huge and far-reaching. In general, the change in content and form is the focus of attention. In terms of content, the drama circles strongly appeal to remove the shackles of "tool theory", to promote the ideological and philosophical character of the works, and to shift the center of creation to the field of "man", that is, the revival of "human studies". In form, the creators have been unable to satisfy the single tone of traditional realism and cast their eyes on the concept of drama other than "realistic" drama to seek a breakthrough, that is, "new realism". Therefore, pursuing ideological philosophy, exploring new forms of performance, and finding a balance between traditional and modern scales are the characteristics of the art of directors in the new period. Under the above cultural background, Chinese drama has cultivated a new generation of excellent directors, among which Wang Xiaoying is the representative. He began writing Old B on the Wall in 1984 and has been active on the stage of Chinese drama. Thanks to "drama view contending", he can absorb the nutrition of all kinds of drama ideas and creatively embody it in his own creation, and his unique understanding of "hypotheses" enables him to be familiar with his works of all kinds of subjects. The expansion of "expressive aesthetics" enables him to express his philosophical thinking through "poetic imagery" for more than 20 years. Wang Xiaoying has now established his own creative concept and artistic characteristics of director. At the same time, it also establishes the aesthetic orientation of its own creation. Based on the cultural context of "New period", this paper tries to make a scientific, systematic induction and summary of Wang Xiaoying's independent artistic characteristics of director. At the same time, it also explores the aesthetic orientation of its creation. In addition, through the case study, to explore the state of the whole new period director art, is also the focus of this article.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J824
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