本文選題：藏戲　切入點(diǎn)：西方戲劇　出處：《甘肅社會(huì)科學(xué)》2017年01期

【摘要】：藏戲是藏族文化的凝結(jié)與重要載體,從唐至今,由于地域的特殊性,藏戲受到其他文化戲劇形式影響較小,保留了比較原始的戲劇風(fēng)格與藝術(shù)觀念,是研究藏族社會(huì)發(fā)展、文化心理演進(jìn)以及構(gòu)建藏族藝術(shù)史的重要史料。以藏戲?yàn)榛c(diǎn),通過(guò)與西方戲劇進(jìn)行文化模式、戲劇結(jié)構(gòu)、審美原則等幾個(gè)方面的比較,力圖分析研究藏戲的諸方面的特性,展現(xiàn)藏戲藝術(shù)的獨(dú)特魅力與巨大藝術(shù)價(jià)值,力求為藏戲的發(fā)展,提供有益的基礎(chǔ)性梳理。
[Abstract]:Tibetan opera is the condensation and important carrier of Tibetan culture. Since the Tang Dynasty, Tibetan opera has been less influenced by other cultural and dramatic forms because of its regional particularity, and has retained a relatively primitive drama style and artistic concept. It is also a study of the development of Tibetan society. The evolution of cultural psychology and the important historical data of constructing Tibetan art history. Based on Tibetan opera, this paper tries to analyze and study the characteristics of Tibetan opera from several aspects, such as cultural model, dramatic structure, aesthetic principle and so on. To show the unique charm and great artistic value of Tibetan opera art, and to provide beneficial basic combing for the development of Tibetan opera.
【作者單位】： 西北民族大學(xué)歷史文化學(xué)院;
【分類(lèi)號(hào)】：J805

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本文編號(hào)：1677347