| 古代戏曲创作主体思维特征论 |
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| 引用本文： | 刘奇玉. 古代戏曲创作主体思维特征论[J]. 韶关学院学报, 2009, 30(10): 18-22 |
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| 作者姓名： | 刘奇玉 |
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| 作者单位： | 湖南科技大学,人文学院,湖南,湘潭,411201 |
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| 基金项目： | 湖南省教育厅课题"杂剧戏曲文体研究"，湖南省哲学社会科学重点研究基地"中国古代文学与社会文化研究基地" |
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| 摘 要： | 文学创作是主体的审美体验过程。中国古代剧论家以主体心灵和主体情感审视戏曲艺术真实，强调审美主体内心真情实感的自然流露，相对忽略对历史和现实生活等审美客体的再现，偏重于创作主体内在心志和情感的表现。同时，他们依据戏曲艺术代言体的文体特性，主张剧作家细致体味戏曲人物生活的环境和遭遇的事件，做到因事造形，随物赋象。
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| 关 键 词： | 戏曲创作 创作主体 审美体验 创作理论 |
On the Creation Subject of Thinking Characteristic of Ancient Opera |
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| LIU Qi-yu. On the Creation Subject of Thinking Characteristic of Ancient Opera[J]. Journal of Shaoguan University(Social Science Edition), 2009, 30(10): 18-22 |
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| Authors: | LIU Qi-yu |
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| Affiliation: | LIU Qi-yu (School of Humane Studies, Hunan University of Science and Technology, Xiangtan 411201, Hunan, China) |
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| Abstract: | The literary is the principal of aesthetic experience of the authorship. Drama theorists of ancient China looked at the opera art true by authorship spirit and emotion. Generally, they neglected the history and the real life and so on esthetic object＇s reappearance, and took seriously to create authorship intrinsic will and the emotion＇s performance. They advocated that the playwright appreciates the environments and the experiences of the characters in the works in accordance with body art opera style features, namely from content collateral at advocate content. |
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| Keywords: | drama creation the authorship aesthetic experiences the theory of creation |
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