论王国维的“戏曲意境”理论  

On Wang Guowei’s Theory of“Opera Artistic Conception”

作　　者：刘洋洋 LIU Yangyang(College of Arts,Northeast Normal University,Changchun 130024,China)

机构地区：[1]东北师范大学文学院,吉林长春130024

出　　处：《连云港职业技术学院学报》2023年第1期40-44,共5页Journal of Lianyungang Technical College

摘　　要：王国维将意境理论引入戏曲研究中,形成了自成体系的“戏曲意境”理论。首先,“戏曲意境”理论既脱胎于中国传统意境论,又汲取西方哲学、美学思想,关注个体命运。其次,“戏曲意境”理论具有“自然”与“言外”这两重内涵,前者聚焦于艺术真实,后者面向世界与人生的本真状态。最后,“戏曲意境”理论提升了戏曲地位,使其走出了“不登大雅之堂”的低下境地,又启迪后来学者,成为“剧诗说”等舞台表演理论的基础之一。Wang Guowei introduced the theory of artistic conception into the study of opera,and formed a self-contained theory of“artistic conception of opera”.First of all,the theory of“artistic conception of opera”is derived from the traditional Chinese artistic conception theory,and draws on Western philosophic and aesthetic ideas to focus on individual destiny.Secondly,the theory of“artistic conception of opera”has two connotations:“natural”and“illocutionary”.The former focuses on artistic reality,while the latter faces the true state of the world and life.Thirdly,the theory of“artistic conception of opera”has elevated the status of traditional Chinese opera,lifting it out of the low status of“off the elegant”,and inspired later scholars,becoming one of the foundations of stage performance theories such as“drama-poetry theory”.

关 键 词：王国维 “戏曲意境”理论 《宋元戏曲史》 

分 类 号：I207.3[文学—中国文学]