| 20世纪30年代的舞台演剧及其接受 |
| |
| 引用本文： | 李勇强.20世纪30年代的舞台演剧及其接受[J].浙江师范大学学报(社会科学版),2011,36(1):120-124. |
| |
| 作者姓名： | 李勇强 |
| |
| 作者单位： | 浙江师范大学,文化创意与传播学院,浙江,金华,321004 |
| |
| 基金项目： | 浙江省哲学社会科学规划项目“新中国60年话剧演出史研究”(10CGWH03ZQ) |
| |
| 摘 要： | 20世纪30年代中国的舞台演剧在一定程度上突破了传统的时空观,多重时空与时空组接都得到了运用,与此同时,在对人物命运或戏剧氛围的"意象化"呈现和写实与写意相结合的舞台设计等方面呈现出新的质素。这促进了观众的审美接受,戏剧观众在"集体无意识"的作用下情感体验得到强化,从而接纳并创造了融汇时代精神的话剧艺术。
|
| 关 键 词： | 中国话剧 演剧艺术 接受心理 原型 |
Chinese Drama and Its Acceptance in the 1930s |
| |
| LI Yong-qiang.Chinese Drama and Its Acceptance in the 1930s[J].Journal of Zhejiang Normal University:Social Sciences,2011,36(1):120-124. |
| |
| Authors: | LI Yong-qiang |
| |
| Institution: | LI Yong-qiang(College of Communication and Creative Culture,Zhejiang Normal University,Jinhua 321004,China) |
| |
| Abstract: | The Chinese drama in the 1930s went beyond the traditional concepts of time and space,and started to apply the multi-temporal and multi-spatial skills as well as the time-space integration techniques of performance.Meanwhile,the new features of staging include the symbolic presentation of the characters'destiny or the theatrical atmosphere,and the stage design that incorporated realistic and impressionist styles.This aesthetically facilitated the reception of drama by the audience,as it reinforced the latte... |
| |
| Keywords: | Chinese drama performing art receptive psychology prototype |
| 本文献已被 CNKI 万方数据 等数据库收录！ |
|
