中国古代戏曲的诗性表征与精神  

On the Poetic Characters and Spirit of Ancient Chinese Operas

作　　者：吴晟[1] 

机构地区：[1]广州大学人文学院,广东广州510006

出　　处：《广州大学学报（社会科学版）》2015年第1期74-82,共9页Journal of Guangzhou University:Social Science Edition

基　　金：国家社会科学基金后期资助项目(10FZW016)

摘　　要：从形之下观照,中国古代戏曲的诗性表征,首先表现在:文体上、语言上主要由人物的上场诗、下场诗、唱词、韵白和判词或词话、题目正名构成;韵律上运用诸宫调来演唱,无论抒情、写景或述事,都注重诗意般的意境营构;其次表现为借剧中角色之酒杯浇自己心中的块垒、象征性的脸谱艺术、虚拟化的生活场景、灵活性的时空观念和程式化的表演手段之写意艺术。从形之上透视,中国古代戏曲的诗性精神,表现为"天人合一"的哲学观念、理想化的生存境界、诗意般的生命体验、平民性的价值取向、自娱娱人的娱乐目的。From the physical perspective, the poetic characters of ancient Chinese operas are firstly demonstra- ted by the many poems in the text, such as Poems of Entrance, Poems of Exit, Singing Poems, Talking Poems, Po- ems of Conclusion, Title Poems, and the many poetic lines and images quoted. In fact, ancient Chinese operas of- ten tend to make it poetical no matter whether they are telling feelings, presenting situations or narrating stories. Secondly, the poetic characters of ancient Chinese operas are shown by the art of face symbols, the virtual life cir- cumstances, the free handling of time and space, and the set ways of presentation, which are intended to express the author＇ s feelings rather than to present real stories. From the metaphysical perspective, the poetic characters of ancient Chinese operas are demonstrated by the philosophical concept of Heaven and Humans Being Emerged, the pursuing of an ideal world, the emphasis of poetical life experiences, the aesthetic orientation of the common peo- ple, and the artistic goal of entertainment sharing.

关 键 词：中国古代戏曲 诗性表征 诗性精神 

分 类 号：I206.3[文学—中国文学]