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1987年北京的戏曲舞台充满了蓬勃的生机。让我们先回瞻1986年以前的戏曲创作,以便为87年的创作确立前提性座标。86年前戏曲创作的醒目标志体现在剧作家对创作对象审美本质的独到发现,这一特征在历史剧中尤为突出。我们主要从两种角度来概括这种特征。其一是剧作家选择题材的依据,是自己真正的审美发现,而不是仅仅由题材的认识价值所激起的历史的、政治的和道德的激情。这种基点转换导致戏曲创作由平庸的图解生活向天才的灵感进发超越。其二是剧作家对于
In 1987, the opera stage in Beijing is full of vitality. Let us first review the opera creation before 1986 in order to establish the prerequisite coordinates for 87 years of creation. The striking sign of opera creation 86 years ago is embodied in the original discovery of the aesthetic essence of the creative object by the dramatist. This feature is particularly prominent in the historical drama. We summarize this feature mainly from two perspectives. The first is that the playwright’s choice of subject matter is his true aesthetic discovery, not the historical, political and moral passion aroused by the cognitive value of the subject matter alone. This kind of basic point change causes the drama creation to go beyond the mediocre graphic life to the genius inspiration. The second is the playwright