| 形神二元论与古典戏曲的传神特色 |
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| 引用本文： | 郑传寅. 形神二元论与古典戏曲的传神特色[J]. 汕头大学学报(人文社会科学版), 2004, 20(3): 19-23,50 |
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| 作者姓名： | 郑传寅 |
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| 作者单位： | 武汉大学艺术系,湖北,武汉,430072 |
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| 摘 要： | 古典戏曲的文本创作和舞台表演都遵循以形写神、神主形从的原则 ,亦即不以外在形迹的逼真模拟为贵 ,而以内在意兴的充分抒发为上。从构成要素的角度看 ,传神特色的形成得力于姊妹艺术的影响 ;从思想文化渊源的角度看 ,传神特色的形成得力于贵无轻有的老、庄哲学和形神二元、重神轻形的宗教思想
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| 关 键 词： | 古典戏曲 传神特色 宗教思想 老庄哲学 |
| 文章编号： | 1001-4225(2004)03-0019-005 |
| 修稿时间： | 2004-02-23 |
Dualism of Body and Spirits and Traditional Chinese Opera |
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| ZHNEG Chuan-Ying. Dualism of Body and Spirits and Traditional Chinese Opera[J]. Journal of Shantou University(Humanities Edition), 2004, 20(3): 19-23,50 |
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| Authors: | ZHNEG Chuan-Ying |
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| Affiliation: | ZHNEG Chuan-Ying |
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| Abstract: | Usually, the writing and performing of traditional Chinese operas follow a rule—— spirit in the first place, esse in the second place. That is to say, traditional Chinese opera emphasizes not the “fidelity” of performance but how spirits and meanings are expressed in performance. This distinct feature is derived from Confucianism & Taoism and religious dualism of body and spirits. |
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| Keywords: | traditional Chinese opera expression of spirits religious thoughts Confucianism&Taoism |
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