从“展示”到“表达”——戏曲舞台美术叙事功能的历史演进  

From “Display” to “Expression”——Historical Evolution of Narrative Function of Drama Stage Art

作　　者：叶艳宁[1] Ye Yanning(Shandong College of Arts,Jinan 250000)

机构地区：[1]山东艺术学院戏曲学院,济南250000

出　　处：《新疆艺术学院学报》2021年第4期30-36,共7页Journal of Xinjiang Arts University

基　　金：山东省艺术科学重点课题“戏曲舞台美术主体性研究”(项目编号:ZD201906026)的阶段性成果。

摘　　要：随着戏曲艺术的逐步发展,戏曲舞台美术的内涵组成,以及它在戏曲艺术中的地位、功能都发生了重要变化。从被动的"展示"到主动的"表达",戏曲舞台美术自身的主体性也在历史的演进中得以凸显。戏曲舞台美术作为戏曲艺术的重要组成部分,它的发展演变一方面和戏曲艺术整体的发展水平有关,另一方面也和社会的文化、物质水平以及民众的审美有较大关联。对戏曲舞台美术叙事功能的探究,可以成为洞悉戏曲艺术发展轨迹的重要参考,也可以成为观察中国艺术发展的风向指南。With the gradual development of drama art, the connotation and composition of drama stage art, as well as its position and function in drama art have undergone important changes. From passive "display" to active "expression", the subjectivity of drama stage art itself has been highlighted in the evolution of history. As an important part of drama art, the development and evolution of drama stage art is related to the overall development level of drama art on the one hand, and also to the social culture, material level and people’s aesthetic. The exploration of the narrative function of drama stage art can be an important reference to understand the development trajectory of drama art, and also a guide to observe the development of Chinese art.

关 键 词：戏曲舞台美术 展示 表达 主体性 

分 类 号：J813[艺术—戏剧戏曲]