论京剧中的反观式美学意象
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摘要
京剧作为中国的国粹,与中国的诗词、绘画一样,都善于通过反观式的美学意象,将无限丰富的生活内容展现给观众,从而使京剧的艺术美感得以升华。它既注重对社会生活的高度凝练、夸张、装饰和美化,追求着写意画中的那种"神似",同时又能激发起观众的无限想象力,使其与演员共同营造着京剧表演中的神韵。文章主要从京剧虚拟情景、台词、时空三个方面,论述京剧的反观式美学意象。通过对反观式美学意象的分析,认为其在京剧表演中起着至关重要的作用,它使京剧变得更加完整、细腻,充满动人心弦的美感。
As one of China's cultural heritages, Beijing Opera,which is quite similar with Chinese traditional poems and paintings, provides its audience an abundance of life experiences through its reverse observation towards aesthetic images, endowingthe opera with an elevatedaesthetic dimension. Opera is an art which not only shows a highly condensed, exaggerated, decorated and beautified social life, but also pursues the "likeness in spirit" which often happens in Chinese free-brush painting. And in a way, it evokes the audiences' immense imagination, and allows them to create the essential verve in its performance together with actors.This paper attempts to analyze the aesthetic images through the reverse observation of Beijing opera. Three aspects will be fully illustrated: virtual conditions, lyrics, and time-space language. And the paper concludes that the art of reverse observation plays an important role in the opera's performance, which is made more complete, delicate, and endowed with a compelling aesthetic perception.
As one of China's cultural heritages, Beijing Opera,which is quite similar with Chinese traditional poems and paintings, provides its audience an abundance of life experiences through its reverse observation towards aesthetic images, endowingthe opera with an elevatedaesthetic dimension. Opera is an art which not only shows a highly condensed, exaggerated, decorated and beautified social life, but also pursues the "likeness in spirit" which often happens in Chinese free-brush painting. And in a way, it evokes the audiences' immense imagination, and allows them to create the essential verve in its performance together with actors.This paper attempts to analyze the aesthetic images through the reverse observation of Beijing opera. Three aspects will be fully illustrated: virtual conditions, lyrics, and time-space language. And the paper concludes that the art of reverse observation plays an important role in the opera's performance, which is made more complete, delicate, and endowed with a compelling aesthetic perception.
引文
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[2][3][6][12][13]蓝凡.中西戏剧比较论[M].上海:学林出版社,2008.110、129、150、184.
[4]Mei,Weidong.Appreciating traditional Chinese opera[M].Beijing:New Star Press,2013.172.
[5]马艳萍.戏曲艺术的“无限”与“有限”---浅谈戏曲艺术的虚拟美[J].四川戏剧,2015(9):87-89.
[7]阿甲.戏曲表演规律再探[M].北京:中国戏剧出版社.1990.138.
[8]荀慧生.虚拟与真实[A].荀慧生演剧散论[C].上海:上海文艺出版社,1963.122.
[9]王国维.戏曲考源[M].宣统元年刻本.
[10][11]倪峰.艺术美学“写意性”的传承[J].芒种,2014(14):217、218.