“行”“戾”之争及其对戏曲本质的追索——兼论戏曲艺术史观  

Debate upon Expert and Layman and A Pursuit of the Essence of Traditional Opera: Also on the Overview of Traditional Opera Art Hisotry

作　　者：冯健民[1] 

机构地区：[1]江苏省文化艺术研究院,江苏南京210005

出　　处：《艺术百家》2016年第1期193-198,共6页Hundred Schools In Arts

摘　　要：戏曲史上的"行戾之争",并非只是戏曲中对"内行""外行"的判断,它的背后隐藏着不同戏曲观念的争议。元明300多年"行戾之争"概念的演变,昭示着人们对戏曲本质的不同认识。在撰写论文的同时,笔者对传统的戏曲史论作一宏观回望,重新检视历史上"重文轻艺"的戏曲史观及其所造成的不良后果,倡导从"艺术史"的角度重塑中国戏曲史。The debate upon expert and layman is actually a debate on opera conceptions. The transformation of the concept of expert and layman in Yuan and Ming dynasties shows people＇s different understandings of the essence of traditional opera. In this paper,I also retrospect traditional opera history and discourses from a macroscopic perspective,and re- inspect the bad result caused by paying much attention to literature but pay less attention to art. And therefore,I advocate to reshape traditional Chinese opera history from the perspective of art history.

关 键 词：戏曲艺术 艺术规律 “行戾之争” 戏曲本质 戏曲史观 艺术史观 

分 类 号：J80[艺术—戏剧戏曲]