摘要
历史进入近代 ,动荡剧变的社会形势反而给已经趋于衰落的传统的戏曲形式杂剧和传奇带来了短暂的兴盛。但是为适应政治形势创作的戏曲作品在保有旧有叙事特征的前提下 ,可以不考虑戏曲故事的情节设置 ,而以突出剧作家的主观意图为主要目的。演员作为剧中角色的叙述功能减弱 ,作为剧作家代言人的叙述功能加强 ,戏曲作为“戏”的特点被忽略。
In the modern times,the turbulent and intranquil social situation made declining traditional forms of opera Zaju and Chuanqi flourishing temporarily.But the operas created to suit the political situation might stress the playwright's subjective intent regardless of the arrangement of the plot with the prerequisite of keeping the narrative feature.The actor was more a spokesman for the playwright than a role in the opera.The theatrical characteristics of the opera were neglected.
出处
《河南教育学院学报（哲学社会科学版）》
2001年第2期59-62,共4页
Journal of Henan Institute of Education(Philosophy and Social Sciences Edition)
基金
国家哲社基金九.五规划项目 (青年资助项目.96CWW 0 0 6 )<戏剧叙事学>
