摘要
在以物质为媒介的现代戏曲舞台设计中,体现戏曲三大艺术特征(综合性,虚拟性,程式性)之一的虚拟性,仍然有其一定的理论研究及实践价值,可以在物质转化、不同类型结构、多种呈现方式的舞台设计中发挥相应的作用。虚拟性在《牡丹亭》《天下归心》《大唐贵妃》等作品中散发艺术魅力,可以彰显戏曲艺术的特质,体现主体性,避免过度依赖高科技,使现代文明成果和谐融入戏曲舞台设计,更好地服务于现代戏曲发展。
In the stage design of modern Chinese opera with material as the medium,the virtuality,one of the three major artistic characteristics of Chinese opera(comprehensive,virtuality,programmatic),still has strong theoretical value.It can play a corresponding important role in the stage design of materialtransformation,different types of structures,and a variety of presentation methods.Virtuality exudes greatartistic charm in“The Peony Pavilion”“you and me”and“Tang Concubines”and other works,which proves that the full use of the virtuality of the connotation of traditional aesthetic spirit can maintain the artistic characteristics of Chinese opera,avoid relying on high-tech dazzling skills,and harmoniously integrate the achievements of modern civilization into the stage design of Chinese opera,and better serve the development of modern Chinese opera.
作者
王竞
林逸鹏
WANG Jing;LIN Yipeng
出处
《淮南师范学院学报》
2024年第3期111-115,共5页
Journal of Huainan Normal University
基金
2020年度安徽省质量工程教学研究项目“传统文化审美在艺术设计及舞台美术专业基础教学中的应用研究”(2020jyxm0303)。
关键词
虚拟性
现代戏曲舞台设计
意象性物质
技法运用
virtuality
modern Chinese opera stage design
imaginary substance
application of techniques
