本文選題：《詩經(jīng)》　切入點：《楚辭》　出處：《文化藝術(shù)研究》2016年03期 　論文類型：期刊論文

【摘要】：《詩經(jīng)》中的"桑間濮上之歌"走進朝堂并與"朝廷之音"相結(jié)合,為王宮廷堂上的"雅樂"補充了質(zhì)野鮮活的血液,尤其一些"對話"形式的歌謠,具有初始形態(tài)的戲曲品性,為綜合性表演藝術(shù)的出現(xiàn)創(chuàng)造了條件;《楚辭》的某些篇章同樣擁有鮮明的戲曲因子,《九歌》歌舞并重,結(jié)構(gòu)完整,情節(jié)曲折離奇,且多是裝扮表演,不論整體結(jié)構(gòu),抑或祭祀過程中的場上演出,均體現(xiàn)出鮮明的戲曲品性。尤其是華美的唱詞(或曰"歌詞")、意向明確的裝扮表演、描繪細(xì)膩的心理活動、刻畫豐滿的人物形象以及籠罩全場的詩意性和濃郁的抒情性,體現(xiàn)出戲曲藝術(shù)初始形態(tài)的鮮明特性。
[Abstract]:The Song of the Sangjianpu in the Book of songs goes into the Chaotang and combines it with the Voice of the Court. It replenishes the "elegant music" in the Royal Court Hall with fresh blood, especially some songs in the form of "dialogue". With its initial form of drama, it creates conditions for the emergence of comprehensive performing arts. Some chapters of "Chuci" also have distinct opera elements, "Nine songs" with equal emphasis on song and dance, complete structure, twists and turns of plot, and most of them dress up and perform. Both the overall structure and the performances on the pitch in the course of sacrificial sacrifice are characterized by distinct opera characters, especially beautiful lyrics (or "lyrics"), well-intended performances that depict delicate psychological activities. The portrayal of the full figure and the poetic and lyricism of the whole audience reflect the distinctive characteristics of the initial form of the opera art.
【作者單位】： 中國戲曲學(xué)院戲曲研究所;
【基金】：北京市社會科學(xué)基金資助項目“近代戲曲美學(xué)思想的形成與演變研究”(項目編號:14WYB038)的階段性成果
【分類號】：I207.22
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本文編號：1651220