从文学属性的倚重到戏曲本体的回归——论李渔戏曲理论的艺术本体性  

Viewing the Return of Opera Ontology from the Relying on Literature Property——On the Art Ontology of Li Yu′s Opera 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：《内蒙古大学学报（哲学社会科学版）》2009年第6期115-120,共6页Journal of Inner Mongolia University(Philosophy and Social Sciences)

基　　金：内蒙古自治区高等学校科学研究项目(项目批准号:NJC07219)

摘　　要：作为我国传统的艺术形式,戏曲艺术在漫长的发展过程中融合了文学、音乐、舞蹈、美术、杂技等各种艺术因素,成为一种综合性的舞台表演艺术。然而,在戏曲艺术实践不断成熟、不断完备的情况下,我国戏曲理论却始终停留在以戏曲局部的音乐性与文学性统观戏曲艺术整体的框架中。李渔的戏曲理论则首次突破了这种传统的戏曲理论研究格局,以戏曲艺术的基本特征为基点,涵盖了戏曲艺术本体所涉及的各个方面的内容。李渔戏曲理论从文学属性的倚重到戏曲本体的回归,标志着我国的戏曲艺术在理论上达到了艺术本体自觉的高度。Art of Chinese opera, as the traditional art form, merging all sorts of art factors such as literature, music, dance, art and acrobatics in the long process of development, became a kind of comprehensive stage performance arts. However, under the circumstances of continuous maturing and developing of drama art practice, Chinese opera theory was still in the frame of overall viewing the whole of opera art by the partial musical quality and literary quality. Li Yu＇s drama theory broke through for the first time such research pattern of the traditional opera theory. It based on the main characteristics of drama art and covered all the aspects of contents that the noumenon of drama art involved. Li Yu＇ s drama theory, changing from valuing literary property to returning to the noumenon of drama, marked that Chinese opera art reached the noumenon- conscious art height.

关 键 词：李渔 戏曲 戏曲理论 本体 舞台表演性 

分 类 号：I207.3[文学—中国文学]