戏曲程式的表意和文化信息——以几个取材于西方剧作的戏曲演出为例
发布时间：2018-12-07 19:33
【摘要】：惯于西方理念的话剧人乃至现在一般的文化人常常对演员身上的微妙动作视而不见,因为戏曲动作多而话(这个"话"应该包括对话与唱词这两种含有文字的成分)少就二言以蔽之:内容单薄,形式空洞。舞台上话说得少是否必然内容也少?程式化动作的表意功能是否必然不如说出来或者唱出来的"话"?文章拿取材于西方话剧的戏曲作品为例,对这些问题予以论述。
[Abstract]:Opera people, accustomed to Western ideas, and now the average cultural person, often turn a blind eye to the subtle movements of actors. Because there are many actions in the opera and words (this "speech" should include dialogue and singing words), there are two words in short: the content is thin, the form is empty. Is it necessary to say less on the stage? Are the ideographic functions of stylized actions necessarily more like "words" that come out or sing out? Taking the drama works of western drama as an example, this paper discusses these problems.
【作者单位】： 华东师范大学外国语学院;上海戏剧学院;
【分类号】：J805
[Abstract]:Opera people, accustomed to Western ideas, and now the average cultural person, often turn a blind eye to the subtle movements of actors. Because there are many actions in the opera and words (this "speech" should include dialogue and singing words), there are two words in short: the content is thin, the form is empty. Is it necessary to say less on the stage? Are the ideographic functions of stylized actions necessarily more like "words" that come out or sing out? Taking the drama works of western drama as an example, this paper discusses these problems.
【作者单位】： 华东师范大学外国语学院;上海戏剧学院;
【分类号】：J805
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