Title重思余上沅写意戏剧论
Other TitlesRethinking Yu Shangyuan's Theory of Presentational Drama
Authors彭锋
Affiliation北京大学艺术学院
Keywords余上沅
国剧
写意
呈现
表现
再现
绘画
Yu Shangyuan
Chinese Spoken Drama
Xieyi
Presentation
Expression
Representation
Painting
Issue Date2019
Publisher戏剧艺术
Abstract余上沅与同道于20世纪20年代中期发动"国剧运动"。支持"国剧运动"的核心理论是写意戏剧。余上沅借助写意绘画与写实绘画的区别,将写意戏剧与写实戏剧区别开来。就像西方批评家在中国传统写意绘画与西方现代表现绘画之间发现了联系一样,余上沅发现中国传统戏曲与西方现代戏剧具有同样的美学追求。余上沅等人发动"国剧运动",不仅因为国剧是中国的,而且因为国剧是现代的。
Yu Shangyuan and his colleagues launched the "Chinese Spoken Drama Movement" in the mid-1920s. The theory supporting this movement is xieyi or presentational drama theory.Alluding to the differentiation between xieyi, or presentational painting, and xieshi, or representational painting, Yu made a distinction between xieyi as presentational drama and xieshi as representational drama. Like Western art critics who found an affinity between traditional Chinese xieyi painting and modern Western expressionist painting, Yu found common aesthetic pursuit between traditional Chinese Xiqu and modern Western drama. Therefore, Yu Shangyuan and his colleagues launched the "Chinese Spoken Drama Movement" not because Chinese drama is Chinese, but because it is modern.
URIhttp://hdl.handle.net/20.500.11897/560902
ISSN0257-943X
DOI10.13737/j.cnki.ta.2019.01.005
Indexed中文核心期刊要目总览(PKU)
Appears in Collections:艺术学院

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