从戏曲单一论到戏剧综合论——中国古代戏曲艺术理论发展刍议  

From the Opera Oneness to Drama Syntheses——An preliminary discussion of the development of the ancient Chinese opera art theory

作　　者：葛丽英[1] 

机构地区：[1]内蒙古大学艺术学院,内蒙古呼和浩特010010

出　　处：《内蒙古大学艺术学院学报》2008年第3期101-107,共7页Journal of Art College of Inner Mongolia University

基　　金：内蒙古自治区高等学校科学研究项目"李渔戏曲理论的艺术本体论特征研究"(项目编号:NJC07219)

摘　　要：中国古代戏曲艺术理论从最初的萌芽期、形成期到全面发展的鼎盛期,始终难以实现由戏曲单一论到戏剧综合论的真正跨越。直到清代,李渔戏曲理论的诞生促成了这种跨越的实现,中国古代戏曲艺术理论才由此走向了自觉与成熟。Ancient Chinese opera art theory from the embryonic period, the period of formation to full development of its peak period had been difficult to achieve the real leap from the oneness opera art to integrated theory of drama. Only in Qing dynasty, did the emerge of Li Yug drama theory realize this kind of leap. And the ancient Chinese opera art theories came to a period of self- knowledge and mature.

关 键 词：中国占代 戏曲 戏剧 李渔 戏曲理论 单一论 综合论 

分 类 号：I207.3[文学—中国文学]