论戏曲表演、话剧表演中“体验”与“表现”的关系  

Relationship Between “Experience” and “Expression” in the Performances of Chinese Opera and Drama

作　　者：苗芳[1,2] MIAO Fang(School of Communication,Yunnan Normal University,Kunming 650500,China;School of Liberal Arts,Nanjing university,Nanjing 210046,China)

机构地区：[1]云南师范大学传媒学院 [2]南京大学文学院

出　　处：《中北大学学报（社会科学版）》2019年第6期47-50,共4页Journal of North University of China：Social Science Edition

摘　　要：表演艺术中关于“体验派”和“表现派”的争论近两百年,其理论焦点无疑在“体验”“表现”的关系与侧重各有不同。戏曲表演与话剧表演亦然如此。戏曲表演借助“体验”完成高度程式化的“表现”,具有观赏性、抒情性、写意性的艺术特质;话剧表演强调现实体验,在写实性的基础上融合写意性。通过探析戏曲表演及话剧表演艺术中“体验”与“表现”之关系异同,力求对当下戏曲表演艺术与话剧表演艺术的发展方向产生启示。The debates between Experientialism and Expressionism regarding the relationship between "experience" and "expression" in performing arts have existed for nearly two hundred years. It is also the case in the performances of Chinese opera and drama. Chinese opera relies upon highly stylized "expression" to perform, demonstrating its distinct artistic characteristics in performance, while the performance of drama emphasizes real "experience". This paper hopes to explore the development direction of the performances of Chinese opera and drama by analyzing the similarities and differences between "experience" and "expression" in the performances of Chinese opera and drama.

关 键 词：观赏性 脚色制 戏曲表演 话剧表演 

分 类 号：J82[艺术—戏剧戏曲]