现实与舞台:情景创设下折子戏的等效性艺术转化
发布时间：2018-10-08 19:15
【摘要】：中国传统戏曲在解决现实生活体验如何戏剧化的问题上,并不遵从"冲突"的理论框架,而是强调通过物我关系的设置来突显剧中人物在特定环境中的困境与情感表达。因此在折子戏中有大量非冲突情节的存在,但它们又是极富舞台意味的存在。造成这种现象的可能性在于,由生活真实到舞台创造,是在原型基础上通过"等效性"的艺术转化而带来的一种对现实行动表象的感性影写。
[Abstract]:In solving the problem of how to dramatize the real life experience, the traditional Chinese opera does not follow the theoretical framework of "conflict", but emphasizes that the dilemma and emotional expression of the characters in the play in a specific environment are highlighted through the setting of the relationship between the material and the self. Therefore, there are a large number of non-conflicting plots in the zhuanzi drama, but they are extremely stage-rich existence. The possibility of this phenomenon lies in the fact that the creation from the real life to the stage is a kind of perceptual writing on the actual action surface brought about by the artistic transformation of "equivalence" on the basis of the archetype.
【作者单位】： 四川省艺术研究院;
【分类号】：J825
，
本文编号：2257952
[Abstract]:In solving the problem of how to dramatize the real life experience, the traditional Chinese opera does not follow the theoretical framework of "conflict", but emphasizes that the dilemma and emotional expression of the characters in the play in a specific environment are highlighted through the setting of the relationship between the material and the self. Therefore, there are a large number of non-conflicting plots in the zhuanzi drama, but they are extremely stage-rich existence. The possibility of this phenomenon lies in the fact that the creation from the real life to the stage is a kind of perceptual writing on the actual action surface brought about by the artistic transformation of "equivalence" on the basis of the archetype.
【作者单位】： 四川省艺术研究院;
【分类号】：J825
，
本文编号：2257952
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