中国民族歌剧表演艺术的美学建构  

Towards Aesthetic Construction of Chinese National Opera Performing Art

作　　者：居其宏 Ju Qihong

机构地区：[1]中国音乐学院,南京210013

出　　处：《音乐艺术（上海音乐学院学报）》2023年第3期28-41,共14页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2019年度国家社科基金艺术学重大项目“中国声乐艺术研究”阶段性成果,项目批准号:19ZD14。

摘　　要：在中国民族歌剧长达70余年的创演实践中,以郭兰英、王玉珍、万馥香、彭丽媛、戴玉强、雷佳、王丽达、吴碧霞、黄华丽等人为代表的历代歌剧表演艺术家,坚持以人民为中心的创作导向,在向中国戏曲学习、向西方歌剧学习的基础上,形成了声情并茂、唱演俱佳、形神兼备和虚实融合的四大美学特色,在世界歌剧表演艺术史上,为建构独具中国特色和中国优势的民族歌剧表演美学框架奠定了重要基础。肩负走向国际的民族歌剧表演艺术,也要认清自身的不足,采取切实举措增强补弱,唯其如此,中国声乐学派在国际舞台上堪与世界著名声乐学派并驾齐驱、各领风骚的愿景,必将成为辉煌的现实。In the more than 70 years of creative practice of Chinese national opera,successive generations of opera performance artists have adhered to the people-centered creative orientation,and on the basis of learning from Chinese xiqu opera and Western opera,they have formed four aesthetic characteristics over time,including the integration of sound and emotion,singing and performance,form and spirit,and virtuality and reality,unique in the history of world opera performances.This also laid an important foundation on the construction of an aesthetic framework for Chinese national opera performances.

关 键 词：民族歌剧 表演艺术 美学建构 增强补弱 中国声乐学派 

分 类 号：J604.6[艺术—音乐] J601