布莱希特“间离”理论视角下我国古代戏曲的演述方式研究

发布时间：2018-07-03 19:39

本文选题：“间离”理论 + 演述　；参考：《四川戏剧》2017年02期

【摘要】：以布莱希特“间离”戏剧理论反观我国古代戏曲,可见剧中人念诵后世诗词、引用后世称谓等“错位”现象,及剧作家通过场上演述者身份的转变或娱乐观众,或借演述者之口进行评论干预,都是造成“间离”的重要方式。我国古代戏曲“间离”特征的形成有“文”与“艺”两方面的原因,“文”体现在剧作家逞才使能和“不平则鸣”的创作动机驱使,“艺”则体现在戏曲借鉴和吸收说唱艺术激发观众参与和审美的方式。
[Abstract]:On the basis of Brecht's "distance" drama theory, we can see that people in the drama recite poems of later generations, quote the appellations of later generations and "misplace", and the playwrights change their identity or entertain the audience by acting on the field. Either comment or intervention by the speaker's mouth is an important way to cause separation. There are two reasons for the formation of the characteristics of "distance" in ancient Chinese opera, namely "Wen" and "Art", which are driven by the writers' creative motivation. Art is embodied in the way of drawing lessons from and absorbing rap art to stimulate audience participation and appreciation of beauty.
【作者单位】：广东省中山火炬职业技术学院;

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