| 摘要: |
| “三大戏剧体系”说源自1962年黄佐临的《漫谈“戏剧观”》中提出的“三种戏剧观”，此后孙惠柱先后提出过两个版本的“三大戏剧体系”，当前又逐步转向聚焦梅兰芳体系，引申出对京剧艺术表演体系、古典戏曲表演美学、戏曲表演体系等的讨论。理清“三大戏剧体系”的缘起、衍变及其论争，有助于深化对传统戏曲与现代戏剧、梅兰芳与中国戏曲美学关系等问题的理解。 |
| 关键词: “三大戏剧体系” 黄佐临 孙惠柱 梅兰芳体系 |
| DOI： |
| 分类号: |
| 基金项目: |
|
| The Origin, Evolution, and Debate of the“Three Drama Systems” |
|
KANG Jian-bing
|
|
School of Arts, Chongqing Technology and Business University, Chongqing 400067, China
|
| Abstract: |
| The theory of “Three Drama Systems” originated from the “three drama views” proposed by HUANG Zuolin in Rambling on “Drama View” in 1962. Since then, SUN Huizhu has proposed two versions of the “Three Drama Systems”. At present, it gradually turns to focus on MEI Lanfang system. It leads to the discussion on the performance system of Peking Opera, the aesthetics of classical opera performance, and the performance system of Chinese opera. To clarify the origin, evolution, and debate of the “Three Drama Systems” is helpful to deepen the understanding of the relationship between traditional opera and modern drama as well as the relationship between MEI Lanfang and the aesthetics of Chinese opera。 |
| Key words: “Three Drama Systems” HUANG Zuolin SUN Huizhu MEI Lanfang system |
