| 梁廷枏的戏曲本体论及其意义 |
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| 引用本文： | 曹艳华.梁廷枏的戏曲本体论及其意义[J].甘肃高师学报,2014,19(4):5-7. |
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| 作者姓名： | 曹艳华 |
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| 作者单位： | 定西师范高等专科学校中文系,甘肃定西,743000 |
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| 摘 要： | 梁廷枏在其理论著作《曲话》认为戏曲源于诗词,但和诗词的重抒情相比,戏曲有着重叙事和模仿的不同,因此别为一体,并从源头的角度,认为戏曲是一门集歌、舞、白、事、演等一体的高度综合性艺术。这些对戏曲本体的体认富有价值和意义,影响启发了后人。
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| 关 键 词： | 戏曲 诗词 别为一体 高度综合性 |
The Study on LIANGTing-nan's Traditional Opera Essence |
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| CAO Yan-hua.The Study on LIANGTing-nan's Traditional Opera Essence[J].Journal of Gansu Normal College,2014,19(4):5-7. |
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| Authors: | CAO Yan-hua |
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| Institution: | CAO Yan-hua (Chinese Language Department, Dingxi Teachers College, Dingxi Gansu 743000) |
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| Abstract: | LiangTing-nan advocated that traditional opera originated from poetry. But comparing with lyric poetry, traditional opera attached more importance to narration and imitation. So he thought that traditional opera was an independent style. And form the viewpoint of source, he also discussed that traditional opera had an comprehensive characteristic including song, dance, spoken parts, events, performance and so on. Those summaries about traditional opera essence had high value and enlightened Traditional Opera Theorists later. |
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| Keywords: | traditional opera essence poetry independent style comprehensive characteristic |
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