摘要
随着新时代中国歌剧创演的蓬勃发展,中国歌剧理论评论也方兴未艾,尤其在歌剧元理论、中国歌剧实践等多方面取得丰硕成果,同时也存在论点和论据偏离歌剧本质等问题,进而陷入“隔靴搔痒”“文不对题”的尴尬状态。中国歌剧应处理好“音乐性与戏剧性”“民族性与国际性”“音乐与语言”“传统与当代”“创作与制作”“创作与评论”“创作与表演”“创作与理论”的关系,此乃推动与促进新时代中国歌剧创新发展的关键。
With the vigorous development of Chinese opera creation and performance in the new era,the theoretical criticism of Chinese opera is also in the ascendant,especially in the meta-theory of opera and the practice of Chinese opera.The creation and performance of Chinese opera should deal with the relationship between“music and drama”,“national and international”,“music and language”,“tradition and contemporary”,“creation and production”,“creation and criticism”,“creation and performance”and“creation and theory”,which is the key to promoting the innovation and development of Chinese opera in the new era.
出处
《音乐艺术（上海音乐学院学报）》
CSSCI
北大核心
2023年第3期54-65,共12页
Art of Music(Journal of the Shanghai Conservatory of Music)
