摘要
自布鲁克提出"空的空间"这一美学诉求后,很多戏曲研究者将之与戏曲空间美学相比附,误以为,戏曲空间美学之形成,起初就是出于一种美学诉求。而周贻白早已令人信服地指出,在起源上,戏曲舞台之所以成为"空的空间",实则是出于一种现实的不得已。如今,跨文化视域已经成为戏剧思考所不可或缺的背景知识,然而,在面对不同戏剧观念与传统时,我们势必需要注意,不仅应在横向上考察它们的现状,也应在纵向上探究它们的源起。
Since Brook proposes the aesthetic appeal of ＂empty space＂, many opera researchers compare it with the spa- tial aesthetics of operas and misinterpreted whose origin was from a certain aesthetic appeal. ZHOU Yi - bai nevertheless pointed out convincingly the reason why the opera stage became ＂empty space＂ in its origin was actually out of a realis- tic necessity. Nowadays, when confronted with different drama concepts and conventions, cross -cultural communica- tion has become indispensable while we need to notice their current states horizontally and their origins vertically.
出处
《贵州大学学报（艺术版）》
2014年第5期55-61,共7页
Journal of Guizhou University Art Edition
关键词
戏曲空间美学
源起
空的空间
布鲁克
周贻白
spatial aesthetics of operas
origin
The Empty Space
Brook
ZHOU Yi - bai
