發(fā)布時(shí)間：2018-05-17 14:05

  本文選題：“三駕馬車(chē)” + 戲曲創(chuàng)作��； 參考：《山東藝術(shù)學(xué)院》2017年碩士論文

【摘要】：近年來(lái),隨著傳統(tǒng)文化傳播的升溫,戲曲市場(chǎng)開(kāi)始呈現(xiàn)出回暖的趨勢(shì),戲曲劇本逐年增多。但與此同時(shí),優(yōu)秀的戲曲劇本依舊匱乏。而自上世紀(jì)90年代,編劇市場(chǎng)就開(kāi)始出現(xiàn)蕭條的景象,劇本創(chuàng)作開(kāi)始滑坡,編劇的從業(yè)者開(kāi)始慢慢減少。這些都與青年人才的不足不無(wú)關(guān)系,即使是戲文專(zhuān)業(yè)畢業(yè)的學(xué)生,也只有少數(shù)從事編劇的行業(yè)。相比較數(shù)量龐大的演員隊(duì)伍來(lái)說(shuō),編劇的存活率較低。而編劇的匱乏也導(dǎo)致了對(duì)當(dāng)代劇作家研究的缺失,這也是當(dāng)代戲曲理論發(fā)展失衡的原因之一。上世紀(jì)80年代,是中國(guó)劇作的黃金時(shí)期。1987年,《半月談》雜志選出九位《中國(guó)人物·當(dāng)代編劇》,并將鄭懷興、魏明倫、郭啟宏并稱(chēng)為“戲曲界三駕馬車(chē)”。以“三駕馬車(chē)”為首的新時(shí)期劇作家在作品創(chuàng)作上對(duì)當(dāng)代意識(shí)進(jìn)行了積極而又自覺(jué)的追求,這使得這一時(shí)期的新編歷史劇取得了前所未有的成就。同時(shí)這三位劇作家憑借著對(duì)生活、對(duì)人生、對(duì)歷史的獨(dú)特感悟,以特殊的視角選擇創(chuàng)作題材,在情感塑造、語(yǔ)言運(yùn)用等方面充分體現(xiàn)出個(gè)人的創(chuàng)作風(fēng)格,使作品中滲透著對(duì)人性命運(yùn)的探索、對(duì)現(xiàn)實(shí)的反思。本文旨在選取這三位優(yōu)秀劇作家的作品進(jìn)行分析研究,對(duì)其所生活的地理人文環(huán)境進(jìn)行考察,對(duì)其創(chuàng)作風(fēng)格進(jìn)行總結(jié)概括,同時(shí)從劇作的主題意蘊(yùn)、人物形象、情節(jié)結(jié)構(gòu)等方面進(jìn)行分析,來(lái)論述三位劇作家在創(chuàng)作中對(duì)人性及現(xiàn)實(shí)的反思,并對(duì)其作品中的藝術(shù)特色進(jìn)行探索。文章力求做到將“三駕馬車(chē)”創(chuàng)作的藝術(shù)特色與美學(xué)原理做理論對(duì)接,同時(shí)研究三位劇作家作品中共同具有的時(shí)代內(nèi)涵,揭示其創(chuàng)作中深層次的意蘊(yùn),并試圖對(duì)其進(jìn)行客觀準(zhǔn)確的評(píng)價(jià),為今后戲曲編劇的研究提供有益借鑒。
[Abstract]:In recent years, with the spread of traditional culture, the drama market began to warm up and the drama script increased year by year. But at the same time, the excellent Opera plays were still scarce. Since the 90s of last century, the writers' market began to appear slump, script writing began to decline, and the writers began to slow down. It is all related to the shortage of young people. Even the students who have graduated from the opera are only a few of the writers engaged in the dramatists. In comparison with the large number of actors, the survival rate of the writers is low. And the lack of the writers has also led to the lack of research on contemporary dramatists, which is also the reason for the unbalanced development of contemporary opera theory. First of last century, in the 80s of last century, the golden period of the Chinese drama.1987, the magazine selected nine Chinese characters, contemporary writers, and Zheng Huaixing, Wei Minglun, Guo Qihong, and called "the three carriages of the opera world". The writers of the new period, headed by the "three carriages", were active and conscious of the contemporary consciousness in his writing. At the same time, the three dramatists, by virtue of their life, the unique perception of life, the history, the choice of the creative themes in a special perspective, the emotional creation and the use of language, are fully embodied in the individual's creative style, so that the works are permeated with human nature. The purpose of this article is to analyze and study the works of the three outstanding dramatists, to investigate the geographical and humanistic environment in which they live, to sum up their creative style, and to analyze the theme, character and plot structure of the dramas, to discuss the creation of the three playwrights. To reflect on human nature and reality, and to explore the artistic features of his works. The article strives to do the theory of the artistic features and aesthetic principles of the "three carriages", and to study the connotations of the times in the works of the three dramatists, to reveal the deep meaning in the creation and to try to make it objective. Accurate evaluation will provide a useful reference for the study of opera dramas in the future.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：I207.3

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本文編號(hào)：1901666