李渔戏曲艺术之舞台表演论刍议  

An Approach to Stage Performance of Li Yu′s Opera Art

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》2010年第4期113-116,共4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：李渔的戏曲理论依照戏曲艺术由剧本创作到舞台表演的逻辑顺序分为词曲部与演习部两大部分。李渔用"填词之设,专为登场"巧妙又有机地把二者结合在一起——论剧本创作,始终围绕着登场搬演这一核心;论戏曲表演,又以剧本的创作质量为前提,鲜明地标识着其戏曲理论始终以戏曲艺术舞台表演性为观照标准的独特之处。The theory of Li Yu＇s opera theory is divided into two parts according to the logical order from the play writing to the stage performances： lyric music part and rehearsal part. Li Yu skillfully and organically combines the two. When commenting the play writing, it always parades around the core of the performance ; and when saying opera performances, he premises the script creation of quality with the uniqueness of his distinctive Identify of the art of opera theory as the reflection standard of stage performances of opera.

关 键 词：李渔 戏曲理论 戏曲艺术 舞台表演 

分 类 号：J812[艺术—戏剧戏曲]