“曲情”在曲艺审美中的独特意蕴  

Unique Significance of“Emotional Expression”in the Aesthetics of Quyi

作　　者：徐婷 XU Ting

机构地区：[1]南开大学文学院,天津300110

出　　处：《浙江艺术职业学院学报》2025年第1期126-132,共7页Journal of Zhejiang Vocational Academy of Art

摘　　要：“曲情”是中国古代戏曲美学的范畴,由李渔提出,徐大椿进一步完善。曲情主要是由“情”“节”两部分组成,是中国古代戏曲理论对“创-排-演”要求的精炼总结。曲艺作为中国传统“曲”艺术,深谙“曲情”美学之道。曲艺内容不论是抒情还是叙述都讲求自然,语言通俗且声律协调。曲艺表演要求演员体验人物生活,理解作品内涵。此外,曲艺在具体实践过程中,借助以小博大、一人多角的写意化表演,夹叙夹议、说唱结合、“垫话”等艺术技巧,展现出了不同于其他戏剧艺术的独特“曲情”美学。“Emotional Expression”is a concept in traditional Chinese opera aesthetics,initially proposed by Li Yu and later developed by Xu Dachun.It primarily encompasses“emotion”and“narrative structure”,serving as a refined summary of the requirements for the stages of“creation,rehearsal,and performance”in traditional Chinese opera theory.Quyi,as a traditional Chinese performing art,excels in the aesthetic principles of Qu Qing.Its content,whether expressive or narrative,emphasizes spontaneity,with language that is accessible and phonologically harmonious.Performers in Quyi are expected to immerse themselves in the lives of the characters and grasp the depth of the works.Additionally,in its practical application,Quyi employs various artistic techniques such as“expressing the profound through the mundane”,a single actor portraying multiple characters,blending narration with discussion,integrating speaking with singing,and the use of“filler dialogue”,showcasing a unique aesthetic of“Emotional Expression”distinct from other theatrical forms.

关 键 词：曲情 李渔 曲艺 

分 类 号：J826[艺术—戏剧戏曲]