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文章首次从文化圈扩大的角度,提出中国戏剧三段史,即从中国的中国戏剧,到亚洲的中国戏剧,直至成长为世界的中国戏剧,在这过程中,中国戏剧实际所扮演的身份与戏剧观念承载者所认同的身份,并不总是一致的。到19世纪中叶西方列强的坚船利炮强行打开中国大门之前,中国戏剧观念承载者始终自足于“天朝之乐”的身份,自足于“中国之中国戏剧”的身份,在此之后,中国戏剧观念的承载者开始意识到中国传统戏剧置于世界体系当中,意识到中国戏剧也许应该拥有的新的形式、新的内涵和新的文化责任,并有意识地借助各种媒介力量,重新塑造戏曲形象和伶人形象,以改变戏曲的文化负载符号。
For the first time, from the perspective of expanding cultural circle, the article proposes the history of three stages of Chinese drama, that is, from Chinese drama in China to Chinese drama in Asia to the Chinese drama that has grown into the world. In the process, the actual status of Chinese drama The identities recognized by the holders of theatrical concepts are not always the same. By the mid-19th century, strongholds and cannons of Western powers forcibly opened the door to China before the concept of China’s theater carrier has always been content with “heavenly music”, self-sufficient in “China’s Chinese drama,” the identity of Afterwards, the bearers of the Chinese drama concept began to realize that the traditional Chinese drama was placed in the world system, realized that the Chinese drama should have new forms, new connotations and new cultural responsibilities, consciously resorted to various media forces, Re-create the image of the opera and the actor in order to change the cultural load of opera symbols.