摘要
李渔从戏曲创作、导演、表演三方面观照戏曲接受问题 ,建构起他的戏曲接受观。观众本位是其戏曲接受观的理论核心 ,崇尚通俗是其戏曲接受观的艺术追求 ,娱乐至上是其戏曲接受观的功利取向。李渔戏曲接受观融汇了前人理论探讨的成果 ,凝聚了自己的实践经验和理论见解 ,对中国古代戏曲理论是积极的开拓与发展。
Li Yu viewed the dramatic reception in the light of the dramatic creation,performance and direction and established the dramatic reception theory. Regarding the audience for his creation as a central position was the theoretical kernel of his dramatic reception theory,stressed the dramatic popularization was the pursuit of the art of his dramatic reception theory,and putting the entertainment on the first of all ways was utilitarianism of his dramatic reception theory. Li Yu's dramatic reception theory combined other people's theoretical achievement with his own experience and view,and promoted the progress of chinese ancient dramatic theory.
出处
《广东教育学院学报》
2000年第4期34-40,共7页
Journal of Guangdong Education Institute
