發(fā)布時(shí)間：2019-07-20 05:16

【摘要】：正這次來(lái)南充參加木偶藝術(shù)節(jié),我在短短的兩天里看了幾場(chǎng)演出,感觸非常深。當(dāng)我坐在劇場(chǎng)里時(shí),就有一種強(qiáng)烈的感受,我想到的是如何把木偶藝術(shù)這樣一種讓人快樂(lè)的藝術(shù)還給人民。在一段相當(dāng)長(zhǎng)的時(shí)期里,無(wú)論是政府還是社會(huì)公眾,包括業(yè)內(nèi)人士,在人們的視野里,木偶被看成是一門(mén)比較邊緣的藝術(shù)。一方面,是從主流藝術(shù)的角度看,它并不占據(jù)重要的位置;在另一個(gè)方面,當(dāng)民間藝術(shù)廣闊的空間被擠壓了以后,木偶的生存與發(fā)展的可能性就變得非常少。可是我們都意識(shí)到
[Abstract]:This time I came to Nanchong to attend the Puppet Art Festival. I watched a few performances in just two days and felt very deeply. When I sat in the theater, I had a strong feeling about how to return puppet art to the people. For a long time, both the government and the public, including people in the industry, puppets are seen as a marginal art. On the one hand, from the perspective of mainstream art, it does not occupy an important position; on the other hand, when the vast space of folk art is squeezed, the possibility of the survival and development of puppets becomes very few. But we all realized
【作者單位】： 中國(guó)文藝評(píng)論家協(xié)會(huì);中國(guó)戲曲學(xué)院;
【分類(lèi)號(hào)】：J827
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本文編號(hào)：2516501