摘要
李渔是一位戏曲理论家,又是一位剧本创作的实践家。他对戏曲艺术的特征———群众性、综合性和演出艺术有较为深刻的理解。李渔的戏曲理论超越前人,取得多方面、系统化成果的重要前提是他对观众的熟悉,重视对观众的研究。李渔的娱乐观众的戏曲创作与他对观众心理的研究也是分不开的。李渔的戏曲理论在观众的作用、观众的组成、观众的心理等方面体现了明确的观众意识和对观众学方面的许多见解,形成了自成体系的观众学,从而打破了我国戏剧理论研究传统视野的束缚,开拓了一个新的领域,使我国戏剧理论研究取得了突破性的进展。
Li Yu,an opera theorist and play writer,had a profound knowledge of characteristics of the arts of opera,such as audience orientation,comprehensiveness and art of performance.The premise of his theory surpassing his predecessors in var-ious and systematic aspects lies in his familiarity to his audience,and the emphasis on studying them.Li Yus study in au-dience psychology is also indispensable to his success in entertaining audience.From the aspects of audiences influence,composition and psychology,this article explores the explicit audience orientation and many audience theory ideas reflected from Li Yus opera theory and writing practice.His systematic audience theory broke the boundary of traditional opera theory research,explored a new area,and led to a breakthrough in Chinese opera theory research.
出处
《河南社会科学》
2004年第2期28-33,共6页
Henan Social Sciences
关键词
观众学
戏曲理论
戏曲创作
观众心理
audience theory
opera theory
opera writing
audience psychology
