本文選題：昆曲 + 浪漫主義　； 參考：《山東師范大學(xué)》2011年碩士論文

【摘要】：中國(guó)古代浪漫主義精神體現(xiàn)于形式(神話運(yùn)用、夸張擬人等)和內(nèi)容(作者或百姓的情感意志)兩部分,在藝術(shù)創(chuàng)作中使用夸張的手法和大膽的比擬,充滿了強(qiáng)烈的主觀情感,具有豐富的想象力。昆曲特點(diǎn)主要是細(xì)膩悠長(zhǎng)的“水磨腔”、歌舞統(tǒng)一的表演形式,它是幾百年來(lái)社會(huì)文化歷史的積淀,其美學(xué)價(jià)值在于借助于劇本和舞臺(tái)表演對(duì)浪漫主義精神的表現(xiàn)。昆曲體現(xiàn)出中國(guó)古代浪漫主義精神具有其特殊的歷史時(shí)代背景和心理基礎(chǔ),它成功抒發(fā)了劇作家的情感,完美詮釋了作品,得到社會(huì)民眾的肯定,成為高度綜合、形神俱佳的藝術(shù)形式。本文通過(guò)對(duì)中國(guó)古代浪漫主義精神的闡釋,進(jìn)步論述昆曲獨(dú)特的戲劇品格,肯定昆曲具有浪漫主義的審美風(fēng)格,并借用西方浪漫主義的發(fā)展現(xiàn)狀推演昆曲的發(fā)展方向。在論述中以辯證唯物主義與歷史唯物主義為指導(dǎo),主要采用文獻(xiàn)研究、歷史研究、比較研究方法,最終形成論文。 論文分三個(gè)部分。第一部分,對(duì)比中西方對(duì)浪漫主義的不同界定。首先介紹西方浪漫主義的定義和發(fā)展概貌,其次結(jié)合中國(guó)古代文學(xué)藝術(shù)實(shí)際情況,嘗試定義中國(guó)古代浪漫主義精神及其創(chuàng)作方法。浪漫主義精神首先表現(xiàn)在抒情性上,在反映現(xiàn)實(shí)生活時(shí),它不拘泥于外在形態(tài),追求主觀情感的強(qiáng)烈表達(dá)和形式的自由奔放,具有理想主義色彩。 第二部分具體分析昆曲的浪漫主義審美風(fēng)格。首先通過(guò)和其他戲曲形式的對(duì)比概括昆曲獨(dú)特的戲曲品格。昆曲符合當(dāng)時(shí)人們心理上凈化身心、獲得愉悅感的審美需求,具有娛樂(lè)大眾功能,同時(shí)具有典型的地域特點(diǎn)。昆曲比京劇等北方劇種細(xì)膩委婉,比黃梅戲等同類劇種大氣、有文學(xué)性。其次,結(jié)合劇作家和具體作品分析昆曲的浪漫主義審美藝術(shù)特色。先分析劇作家的生活歷史背景和創(chuàng)作心理,然后從劇本和表演形式兩方面具體說(shuō)明浪漫主義的審美風(fēng)格。昆曲所采用的劇本使用了神話傳說(shuō)等夸張手法,表達(dá)出劇作家原本的所思所想,傳神地演繹出劇中人物。表演形式中動(dòng)作的適度夸張充滿美感,配合唱詞做好指示說(shuō)明作用,并推動(dòng)了情節(jié)的發(fā)展、表達(dá)出戲中人的情感。 第三部分通過(guò)西方浪漫主義的發(fā)展情況推演昆曲的發(fā)展問(wèn)題。西方浪漫主義在歷史的發(fā)展中漸漸被現(xiàn)代主義和后現(xiàn)代主義替代,根據(jù)其中的演變過(guò)程和現(xiàn)代主義、后現(xiàn)代主義各自的特點(diǎn)嘗試推測(cè)昆曲未來(lái)的發(fā)展方向。在現(xiàn)實(shí)發(fā)展中,同其他中國(guó)戲曲的傳承一樣,昆曲的發(fā)展也面臨著創(chuàng)新還是復(fù)古的問(wèn)題,相關(guān)部門、演員、學(xué)者都做了多方面的嘗試,但效果如何還需要時(shí)間的檢驗(yàn)。
[Abstract]:The spirit of romanticism in ancient China is embodied in two parts: form (mythological application, exaggeration, personification, etc.) and content (the emotional will of the author or the common people). In artistic creation, the use of exaggerated techniques and bold analogy is full of strong subjective feelings. Have a rich imagination. Kunqu Opera is characterized by its delicate and long "water grinding cavity", a unified form of singing and dancing, which is the accumulation of social culture and history for hundreds of years. Its aesthetic value lies in the expression of romantic spirit by means of scripts and stage performances. Kunqu Opera embodies the ancient Chinese Romantic spirit with its special historical background and psychological foundation. It successfully expresses the feelings of playwrights, interprets the works perfectly, and gets the affirmation of the public and becomes a highly comprehensive one. A form of art in which form and spirit are excellent. Based on the interpretation of the romantic spirit of ancient China, this paper expounds the unique dramatic character of Kunqu Opera, affirms its romantic aesthetic style, and deduces the development direction of Kunqu Opera by using the present development situation of western romanticism. Under the guidance of dialectical materialism and historical materialism, literature research, historical research and comparative research methods are used to form the thesis. The paper is divided into three parts. The first part contrasts the different definitions of romanticism between China and the West. This paper first introduces the definition and development of romanticism in the West, and then tries to define the spirit of Romanticism in ancient China and its creative methods according to the actual situation of ancient Chinese literature and art. The Romantic spirit is first expressed in lyricism. When it reflects the real life, it is not confined to the external form, and pursues the strong expression of subjective emotion and the freedom of form, which has the color of idealism. The second part analyzes the romantic aesthetic style of Kunqu Opera. Firstly, it summarizes the unique character of Kunqu Opera by comparing with other opera forms. Kunqu Opera meets the aesthetic demand of purifying body and mind psychologically and obtaining the sense of pleasure. It has the function of entertaining the public and has the typical regional characteristics at the same time. Kunqu Opera is more delicate and euphemism than Beijing Opera and other similar operas such as Huangmei Opera. Secondly, combined with playwright and concrete works to analyze the romantic aesthetic characteristics of Kunqu Opera. This paper first analyzes the playwright's historical background and creative psychology, and then explains the romantic aesthetic style from two aspects: script and performance form. Kunqu Opera uses dramatic techniques, such as myths and legends, to express the playwright's original thoughts and thoughts, and vividly deduce the characters of the play. The moderate exaggeration of the action in the form of performance is full of aesthetic feeling, with the singing words to do a good job of indicating the role, and to promote the development of the plot, to express the feelings of the people in the play. The third part deduces the development of Kunqu Opera through the development of western romanticism. Western romanticism is gradually replaced by modernism and postmodernism in the development of history. According to the evolution process and the characteristics of modernism, postmodernism tries to speculate on the future development direction of Kunqu Opera. In the development of reality, like the inheritance of other Chinese operas, the development of Kunqu Opera is also faced with the question of innovation or retro. Relevant departments, actors and scholars have made many attempts, but the effect still needs time to test.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J825

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 張婭;<沁園春·雪>兩個(gè)版本詩(shī)詞歌曲的比較研究[D];南京藝術(shù)學(xué)院;2012年

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本文編號(hào)：1800515