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近年来文学理沦界关于复杂性格的论述开阔了戏曲创作的思路,有些作品塑造了性格比较复杂的人物,这是戏曲文学有所突破的一个标志。但与此同时,有些同志认为传统戏曲不善于、不着重塑造复杂性格表明它创作的层次较低,因此不适应当代观众的需要。我以为这种看法是不全面的。传统戏曲作品中的人物确实与当前文学作品中的复杂性格有许多不同,但不能认为这些形象就是扁平的、简单的或类型化的,把他们称为单纯性格似乎更合适。在艺术创作中,与复杂对立的是简单,与单纯对立的是芜杂。我们应当避免简单与芜杂,但是单纯性格与复杂性格却是相辅相成的,同样具有美学价值,不应简单地加以否定和摒弃。
In recent years, literary theory has perplexed the thinking of drama creation on exposition circles, and some works have shaped characters with complicated characters. This is a symbol of breakthrough in opera literature. In the meantime, however, some comrades think that traditional drama is not good at it and does not emphasize the complexity of personality. It shows that it has a lower level of creation and therefore is not suitable for the needs of contemporary audiences. I think this view is not comprehensive. There are many differences between the characters in the traditional operatic works and those in the current literary works. However, these images can not be considered flat, simple or typed, and it seems more appropriate to call them pure characters. In artistic creation, the opposite of complexity is simple, and it is mixed with simple opposition. We should avoid simplicity and omission. However, the simple personality and complex personality are mutually reinforcing. They also have the aesthetic value. They should not be simply rejected and rejected.