摘要
戏曲的谐谑娱乐品格是古代戏曲作家和戏曲理论家对戏曲身份认同的主要路径之一。戏曲的谐谑娱乐功能给观众带来精神愉快,从而成为一种集体记忆积淀下来,使得后世戏曲为人们喜闻乐见。后世戏曲作家和戏曲理论家认同戏曲的谐谑娱乐品格,并以之作为衡量戏曲作品优劣的尺度之一。历代戏曲作家和戏曲理论家自觉建构形成了戏曲的谐谑娱乐品格,并不断认同、丰富和充实了其内涵。这种自觉建构是对中华民族人文精神的传承和弘扬。
The banter entertainment character of drama is one of main paths for the drama identity by ancient drama writers and theorists. Scherzo entertainment drama brings happy spirit,which is a kind of collective memory accumulated,so that the later opera becomes what people love to see and hear. The later opera writers and opera theorists identify drama banter entertainment character,and take it as a measure of opera works quality. The opera writers and opera theorists of different generations have constantly constructed and enriched the Scherzo entertainment character drama,which is the inheritance and development of humanistic spirits of the Chinese nation.
出处
《新余学院学报》
2013年第6期12-14,共3页
Journal of Xinyu University
基金
2012年度教育部人文社会科学研究一般项目<古代戏曲身份认同研究>(12YJA751042)
关键词
戏曲
身份认同
谐谑娱乐品格
人文精神
opera
identity
banter entertainment spirit
humanistic spirit
