论白先勇的“昆曲新美学”
发布时间：2019-05-15 02:41
【摘要】：白先勇在青春版《牡丹亭》与新版《玉簪记》的创作实践中提出了"昆曲新美学"的概念,其目标是"让昆曲的古典美学与现代剧场接轨",核心是"古典为体,现代为用"。"昆曲新美学"主导下的几部作品,体现了很高的制作水准,获得官方与学界盛赞的同时,也引发了戏迷的质疑。本文从白先勇"昆曲新美学"的理论内涵与创作实践着手,结合多方观点分析后认为,"昆曲新美学"是一种创作观念,而不是新的昆曲美学,如果要提到美学的高度来认识它,可以视为一种舞台美学,不仅适用于昆曲,也适用于其他戏曲剧种。
[Abstract]:Bai Xianyong put forward the concept of "new aesthetics of Kunqu Opera" in the creative practice of the youth edition "Peony Pavilion" and the new version of "Jade hairpin". Its goal is to "connect the classical aesthetics of Kunqu Opera with modern theater", and the core is "classical as body". Modern times are used as "." Several works led by Kunqu Opera New Aesthetics reflect a high level of production and have been praised by the official and academic circles, at the same time, they have also aroused doubts among opera fans. Starting from the theoretical connotation and creative practice of Bai Xianyong's "New Aesthetics of Kunqu Opera", and combining with the analysis of various viewpoints, this paper holds that "New Aesthetics of Kunqu Opera" is a kind of creative concept, not a new aesthetic of Kunqu Opera. If we want to mention the height of aesthetics to understand it, we can be regarded as a kind of stage aesthetics, which is not only suitable for Kunqu Opera, but also suitable for other opera plays.
【作者单位】： 上海戏剧学院艺术研究所;
【基金】：上海市高峰高原学科建设计划[项目编号:SH1510GFXK]成果之一
【分类号】：J82
本文编号：2477252
[Abstract]:Bai Xianyong put forward the concept of "new aesthetics of Kunqu Opera" in the creative practice of the youth edition "Peony Pavilion" and the new version of "Jade hairpin". Its goal is to "connect the classical aesthetics of Kunqu Opera with modern theater", and the core is "classical as body". Modern times are used as "." Several works led by Kunqu Opera New Aesthetics reflect a high level of production and have been praised by the official and academic circles, at the same time, they have also aroused doubts among opera fans. Starting from the theoretical connotation and creative practice of Bai Xianyong's "New Aesthetics of Kunqu Opera", and combining with the analysis of various viewpoints, this paper holds that "New Aesthetics of Kunqu Opera" is a kind of creative concept, not a new aesthetic of Kunqu Opera. If we want to mention the height of aesthetics to understand it, we can be regarded as a kind of stage aesthetics, which is not only suitable for Kunqu Opera, but also suitable for other opera plays.
【作者单位】： 上海戏剧学院艺术研究所;
【基金】：上海市高峰高原学科建设计划[项目编号:SH1510GFXK]成果之一
【分类号】：J82
【相似文献】
相关期刊论文 前5条
1 沈建元;;不可牵强[J];电影评介;1992年07期
2 应萼定 ,舒巧;《玉卿嫂》从小说到舞剧[J];上海戏剧;1985年06期
3 赵文涛;国产影片[J];大众电影;1998年04期
4 聂欣如;;不见贵族——《最后的贵族》李彤形象塑造管见[J];电影艺术;1989年12期
5 武珍年;;随谢导拍片[J];电影艺术;1989年12期
相关重要报纸文章 前8条
1 本报记者 贺白丹;白先勇一生道不尽“牡丹缘”[N];深圳特区报;2005年
2 王寅 ;厮守昆腔[N];南方周末;2004年
3 深圳商报记者 金敏华;白先勇：新兴城市亟需文化建树[N];深圳商报;2005年
4 姚小婷;白先勇与昆曲的不了情[N];文艺报;2005年
5 本报记者 付小悦 本报通讯员 何亮;“看我们后院的牡丹有多美”[N];光明日报;2005年
6 本报记者 李智勇;白先勇：青春昆曲中的文化乡愁[N];人民日报海外版;2006年
7 本报记者 尹平平;白先勇:没有青年观众,昆曲就没有生命[N];新华每日电讯;2011年
8 记者 张贺敏;如果昆曲失传，，我们就是民族的罪人[N];深圳商报;2005年
相关硕士学位论文 前1条
1 吴静;从新版《玉簪记》的改编策略和表演特点看白先勇团队的昆曲美学观[D];杭州师范大学;2016年
本文编号：2477252
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2477252.html
