京剧样板戏的美学思潮与传播  

The Aesthetic Thoughts and Dissemination of Beijing Opera Model Drama

作　　者：张诗扬[1,2] 王进[2] 

机构地区：[1]浙江大学 [2]沈阳音乐学院

出　　处：《乐府新声（沈阳音乐学院学报）》2014年第2期60-66,共7页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

基　　金：教育部人文社会科学研究规划基金项目<后"样板戏"时期作品与"样板戏"衍生音乐作品系列研究>项目批准号:11YJA760071

摘　　要："样板戏"是"文化大革命"时期的专有词;是糅杂着艺术和非艺术因素的,至今难以厘清的戏剧形式;是多层艺术格局的艺术模式;是具有艺术美学和政治美学双重结构的现代京剧。"文化大革命"期间盛行的诗歌、小说、歌曲、美术、舞蹈、影视剧等代表着一个时代的文艺作品早已随着"四人帮"的粉碎而烟消云散,唯有"样板戏"及其衍生作品至今仍顽强活跃在艺术的舞台上。京剧样板戏作品在政治荣光消散之后以艺术形式重现,在时代变迁中屹立不倒。"文化大革命"过去近半个世纪,在学术环境自由的今天,亟需从多种角度重新审视京剧样板戏,回顾其传播模式,剖析其社会影响和所引领的美学思潮。＂Model drama＂ is a specific term of＂Cultural Revolution＂. It mixes various artistic and non-artistic elements, blends multi-layer art patterns, and belongs to dual-structural modern Beijing Opera which possesses artistic and politi.cal aesthetics. Some literary and artistic representative qcorks of ＂Cultural Revolution＂, poems, novels, songs, paintings, dances and films, have already disappeared with the downfall of the＂gang of fouur＂, but ＂model drama＂ and. its derivative works display on the stage as an artistic form after the dissipation of its political glory and still gain their own position in the changing times. Nearly bali of a century has passed since the ＂Cultural Revolution＂, and in today＇s free academic situation, Beijing Opera model drama should be reexamined from various angles and its dissemination methods, social influence and aesthetic thoughts should be made a deep analysis.

关 键 词：京剧样板戏 美学 传播 

分 类 号：J624.1[艺术—音乐]