创作主体变化与戏曲的单一化走向  

The Changes of Composition Subjects and Homogenization of Chinese Traditional Operas

作　　者：管尔东 

机构地区：[1]浙江省文化艺术研究院戏剧艺术研究所,浙江杭州310013

出　　处：《西南交通大学学报（社会科学版）》2015年第4期108-114,共7页Journal of Southwest Jiaotong University(Social Sciences)

基　　金：2014年浙江省社科联重点课题"浙江戏曲剧本创作的现状与对策研究"(2014Z071);国家社科基金艺术学项目"抗战时期沦陷城市的演艺生态与戏曲发展"(14CB098)

摘　　要：当下在我国的戏曲创作中,剧目题材和剧种风格的单一化、雷同化趋势严重,逐渐成为了阻碍剧艺发展的核心症结之一。这种现象产生的主要原因不是戏曲受众审美取向和观赏需求的改变,而是由演艺生态决定下的创作主体的变化所致。戏曲创作主体的变化也并非始于当前,相反有其历史的根源。因此,要改变这种状态,就必须对院团体制进行改革,对文艺创作导向进行纠正,建立充分体现艺术规律的经营管理体制,强调创作的千姿百态、丰富多彩,避免概念化、简单化,从而推进我国戏曲发展。The subject matter and styles are being homogenized in today's composition of Chinese traditional operas impeding its development. It is not caused by the change of artistic aesthetics or consumer tastes but by the variation in composition subjects. This problem results from many historical reasons. To change such a situation and to promote the development of Chinese traditional operas,we must restructure the present theatre and troupe system,establish management mechanism that bodies forth the rules of art,and focus on multiple coloured and diversified artistic works to avoid conceptualization and simplification.

关 键 词：创作主体 戏曲 剧种风格 概念化 单一化 

分 类 号：J804[艺术—戏剧戏曲]