中国民族歌剧表演艺术的美学建构
Towards Aesthetic Construction of Chinese National Opera Performing Art
居其宏1
作者信息
摘要
在中国民族歌剧长达70余年的创演实践中,以郭兰英、王玉珍、万馥香、彭丽媛、戴玉强、雷佳、王丽达、吴碧霞、黄华丽等人为代表的历代歌剧表演艺术家,坚持以人民为中心的创作导向,在向中国戏曲学习、向西方歌剧学习的基础上,形成了声情并茂、唱演俱佳、形神兼备和虚实融合的四大美学特色,在世界歌剧表演艺术史上,为建构独具中国特色和中国优势的民族歌剧表演美学框架奠定了重要基础.肩负走向国际的民族歌剧表演艺术,也要认清自身的不足,采取切实举措增强补弱,唯其如此,中国声乐学派在国际舞台上堪与世界著名声乐学派并驾齐驱、各领风骚的愿景,必将成为辉煌的现实.
Abstract
In the more than 70 years of creative practice of Chinese national opera,successive generations of opera performance artists have adhered to the people-centered creative orientation,and on the basis of learning from Chinese xiqu opera and Westem opera,they have formed four aesthetic characteristics over time,including the integration of sound and emotion,singing and performance,form and spirit,and virtuality and reality,unique in the history of world opera performances.This also laid an important foundation on the construction of an aesthetic framework for Chinese national opera performances.
关键词
民族歌剧/表演艺术/美学建构/增强补弱/中国声乐学派引用本文复制引用
基金项目
2019年度国家社科基金艺术学重大项目(19ZD14)
出版年
2023
NETL
NSTL
维普
万方数据