论华夏古典戏曲“大团圆”文化心理范式的生命艺术体征  

By the China Classical Drama "Happy Ending" Cultural Psychology Model Life art Symptom

作　　者：张鹏飞[1] 

机构地区：[1]亳州师范高等专科学校中文系,安徽蒙城233500

出　　处：《曲靖师范学院学报》2010年第1期53-57,共5页Journal of Qujing Normal University

基　　金：国家社科基金艺术类项目(07DD19)阶段性研究成果

摘　　要：中国古典戏曲追求"以喜衬悲、由苦生乐、悲苦交融"的生命艺术情怀,它特别注重彰显剧作家和观众的文化心理愿望,通过悲喜融通的手法和凄苦之后的喜乐团圆煞尾,使观众不致因浓厚的悲剧气氛而过分的忧伤惆怅。概因国人崇尚把美好的生活愿望作为一种精神寄托,它体现在娱乐性的戏曲舞台上便会在某种程度上建构着悲剧情结多以喜剧"大团圆"结局的审美演绎。The Chinese classical drama pursues ＂by the happy lining sad, lives happy, the sorrow blends the life art mood by the pain＂, it pays great attention to show the playwright and audience＇s cultural psychology desire specially, after technique which and chilly painstakingly pleasant reunion last of all sad allows temporary credit happily, causes the audience not to send because of the strong tragedy atmosphere, but excessive sad disconsolate. The people because advocate generally the happy life desire take one spiritual reposing, it will manifest in the entertaining drama stage to a certain extent will then be constructing the tragedy complex many by the comedy ＂the happy ending＂ result＇ s esthetic deduction.

关 键 词：古典戏曲 大团圆情结 心理范式 文化表征 生命情韵 

分 类 号：I207.3[文学—中国文学]