摘要
魏晋至五代这一历史时段,是古代戏曲发展的重要时期。多民族的融合与伎艺生成环境的新变,促使文化交流日益频繁。而伴随艺术观念更新的,则是伎艺的自身完善。首先,"乐"之伦理功能的绝对化在一定程度上被打破,游移于儒家诗教,接受者内在心理的审美需求开始得到重视,歌舞伎艺由"治之隆替——歌之悲欢"的直线思维模式中解脱出来,娱乐功能得到释放。其次,对歌舞声情的理性认识有所深化,对不同歌曲所表达内容的差异以及音乐不同声调功能的认识更为系统化。总之,该时段各类伎艺大体上呈现出竞相争雄又相互融合的局面,而其中的传播也酝酿出新的变化。
It was a crucial period for the ancient drama development during Wei Jin and Five Dynasties. The combination of mul- tiple nationalities and the new changes of the artistic skills frequently stimulated the euhural communication. With the artistic conceptions refreshed, the artistic skills went on perfection itself. First of all, the absoluteness of the moral function of ＂yue＂ to some extent was broken and mobilized between Confucians and poetry cultivation. More Attention had been paid to the inner es- thetic demands of the receivers. The drama skills were released from the linear thinking pattern of ＂the ebbs and flows of govern- ance - the sorrow and joy of songs＂ and so was the entertaining function. Secondly, the rational understanding of sound and emo- tion of the dramas had been deepened. The knowledge had been systematized for content difference of various songs and different tone functions of music. As concluded, during this time period, different kinds of drama as a whole emerged to be competitive and interactive, which fostered new changes in the dissemination.
出处
《徐州师范大学学报（哲学社会科学版）》
2008年第5期24-30,共7页
Journal of Xuzhou Normal University(Philosophy and Social Sciences Edition)
关键词
魏晋至五代
伎艺
发展
传播
Wei Jin and Five Dynasties
drama
development
dissemination
