梁启超戏曲理论中的趣味观念探析  

On the Concept of Interest in Liang Qichao's Opera Theory

作　　者：黄雪敏[1] 

机构地区：[1]华南师范大学南海学院中文系

出　　处：《中国社会科学院研究生院学报》2011年第6期103-107,共5页Journal of Graduate School of Chinese Academy of Social Sciences

基　　金：2011年度教育部人文社科研究一般项目(编号11YJC751025)系列研究成果之一

摘　　要：梁启超是一位极具忧世情怀的思想家,同时又是一位自强不息的乐观实干家。作为一位百科全书式的学术家,梁启超的思想与实践都在他的著作中得以体现。"趣味的革命"是梁启超的戏曲美学的核心内容。他从感性生活层面出发对具有古典哲学思想趣味范畴进行了理性尚实的现代化阐释,使得"趣味"从高雅的戏剧美学殿堂融入到日常的改良新戏及戏剧理论中,肯定戏曲的社会作用,强调戏曲与社会政治环境的联系,对我国近现代戏剧产生深刻的影响。Liang Qichao is a thinker with a mind of worry of the word, and a doer with the optimism of selfimprovement. As an encyclopedic scholar, Liang Qichao＇s thought and practice was reflected in his works. The ＂Interesting Revolution＂ was the core content of Liang＇s drama aesthetics. From life＇s perceptual level, Liang Qichao made an interpretation of the category of interest which contained in classical philosophy. His interpretation, which was more rational and practical, made it possible for the interest to integrate into the daily revolutionary drama as well as drama theory. At the same time, Liang affirmed the theatre＇s social effects, emphasized the relationship between drama and social politics background. His endeavor in drama＇s revolution had a huge influence on the new theatre at modem times in China.

关 键 词：趣味 革命 梁启超 戏曲美学 

分 类 号：I207.3[文学—中国文学]