| 试论20世纪前期国人戏曲观念之转变 |
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| 引用本文： | 解玉峰.试论20世纪前期国人戏曲观念之转变[J].东南大学学报(哲学社会科学版),2009,11(4). |
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| 作者姓名： | 解玉峰 |
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| 作者单位： | 南京大学,文学院,江苏,南京,210093 |
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| 摘 要： | 20世纪前半叶,国人的戏曲观念发生了许多重要的转变。从"野蛮"、"原始"的待被扫除的"遗形物"到有"高贵的价值"的可引以为荣的"国剧";从消闲娱乐的"玩艺儿"到被迫承担起"启蒙"、"救国"的光荣使命并最终与话剧联姻;戏曲艺人由卑贱的"戏子"、"婊子"转身成为令人尊敬的"文艺工作者"和"艺术家"。各种转变的发生最初仅局限于知识阶层,但后来却逐渐成为国人的共识。20世纪前期各种事件的发生,促成了这种根本性的转变。
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| 关 键 词： | 戏曲 戏曲改良 遗形物 国剧 话剧 |
On conceptual change in opera in early 20th century |
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| XIE Yu-feng.On conceptual change in opera in early 20th century[J].Journal of Southeast University(Philosophy and Social Science ),2009,11(4). |
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| Authors: | XIE Yu-feng |
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| Abstract: | The first half of the 20th century witnessed many important changes in people's attitudes toward opera.The "primitive" and "barbarous" trash became "honorable" "operas of nation";the mere "time killer" began to play the glorious role of "enlightenment" and "saving the nation" and was finally combined with drama.The actors and actresses in low positions were regarded as literary and art workers and artists worthy of respect.The early changes were confined to the intelligentsia,but gradually became widely acc... |
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