中国戏曲的哲学精神

浜墽鍓ф湰_闇哥帇鍒К浜墽鍓ф湰_瑗挎柦浜墽鍓ф湰/

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銆婃潹闂ㄥコ灏嗐€?瀹舵棌鍑犱唬鐢峰瓙閮芥浘鍙傚啗锛屼负鍥芥崘韬€?濂冲皢浠摝骞茬溂娉紝鍒€椹タ杩涳紝鎶靛尽澶栨晫鍏ヤ镜锛屽彇寰椾簡浼熷ぇ鐨勮儨鍒┿€? 銆婄ⅶ娉粰瀛愩€嬩腑鐨勯菠楸肩簿鍥犱负绁ョ鍏ㄥ閮戒笉鍠滄绌蜂功鐢燂紝鎵€浠ュ绌蜂功鐢熸劅鍒板悓鎯呭拰鍠滅埍銆?鏈€缁堬紝涓轰簡鐖辨儏锛屼粬瀹佹効鏀惧純浠欏锛岃劚涓嬭娣嬫穻鐨勯奔槌烇紝涓庡績鐖变箣浜虹粨涓嬬櫨骞存儏璋娿€? 銆婄孩鐏銆嬩腑锛屼笁浠d汉濂嬪姏鎷兼悘锛屽畬鎴愬厷缁勭粐浜ょ粰鐨勯噸瑕佷换鍔★紝鏈€缁堝皢鏆楀彿閫佸埌鍖楀北锛岃禒閫佺粰娓稿嚮闃燂紝鍏夎崳鍦板畬鎴愪簡浠诲姟銆?/p> 鑰佸瓙鍦ㄣ€婇亾寰风粡銆嬩腑璇粹€滃湥浜虹殕灏忓効鈥濓紝鎰忔€濇槸鍦d汉搴旇鍍忓皬瀛╁瓙涓€鏍峰寰呭拰淇濇姢涓栭棿鐨勬瘡涓€涓汉銆?杩欎笌鏉庤唇鐨勨€滅蹇冣€濆鍑轰竴杈欙紝琛ㄨ揪浜嗙粷瀵圭殑绾湡鍜屽崥鐖变紬鐢熺殑鍘熷垯銆?蹇冦€?/p> 鑽€瀛愯涓恒€婂ぉ璁恒€嬭涓衡€滃ぉ閬撴亽甯革紝涓哄哀涓嶅瓨锛屼负妗€涓嶄骸鈥濄€?骞崇瓑鏄ぉ閬擄紝澶╅亾婧愪簬鐪熷疄鐨勪汉鎬с€?鍙蹭功銆婇檲娑夊鏃忋€嬩腑鈥滆渚€佽渚€佸皢鍐涖€佸皢鍐涳紝瀹佸彲鏈夊悓绫烩€濈殑鍛煎枈锛屾垚涓哄悇涓椂鏈熶笅灞傜ぞ浼氫腑娴佷紶鏈€骞跨殑鍚嶈█銆?琛ㄨ揪骞崇瓑涓婚鐨勫墽鐩湪鍚勭姝屽墽娴佹淳涓兘寰堝父瑙併€?/p> 銆婄孩楝冮┈銆嬫槸璁稿鎴忔洸娴佹淳涓粡甯告紨鍑虹殑鍓х洰銆?鍏跺唴瀹规棤浠庤€冭瘉锛屼絾闀挎湡鍦ㄥ叏鍥藉悇鍦拌垶鍙颁笂婕斻€?鍘熷洜灏卞湪浜庝汉浠湡寰呯ぞ浼氬叧绯荤殑杞彉锛屾复鏈涘钩绛夌炕鐮栥€?鍓т腑锛屽彌閫嗙殑瀹扮浉濂冲効鐜嬪疂閽忓湪褰╂ゼ涓婃墧鐞冨惛寮曞コ濠匡紝鍗存挒鍒颁簡涔炰笎钖涘钩璐点€?钖涘钩璐靛弬鍐涜淇橈紝鍗佸叓骞村悗褰掓潵绉板笣銆?鐜嬪疂閽忎笉鏀圭棿鎯咃紝鍦ㄥ瘨绐戜腑绛夊緟骞宠吹锛屾渶缁堟垚涓虹殗鍚庛€?澶淇╃殑浜虹敓閮藉疄鐜颁簡閫嗚浆銆?杩欓儴鍓ц櫧鐒朵笉鍚堢悊锛屼絾鍗寸鍚堟儏鎰熴€?鐒惰€岋紝姝屽墽鍙蹭笂杩欐牱鐨勪綔鍝佽繕鏈夊緢澶氥€?浜嬪疄涓婏紝瀹冧滑閮芥弧瓒充簡绀句細搴曞眰姘戜紬甯屾湜鏀瑰彉鍛借繍鐨勫钩绛夋剰璇嗐€?/p> 姝屽墽涓€濡傛棦寰€鍦拌〃杈剧潃浼樼鐨勪紶缁熸枃鍖栵紝骞惰淇濆瓨鍜屼紶鎵胯嚦浠娿€?瀹冭暣鍚潃鍏堣搐鐨勬櫤鎱у拰娣卞埢鐨勫摬瀛︽€濇兂銆?/p> 棣栧厛锛屼腑鍥芥垙鏇茶嚜浜х敓浠ユ潵锛屽氨鍏锋湁姝屽敱銆佽垶韫堛€侀煶涔愩€佹潅鑰嶃€佺浉鎵戙€佹鏈瓑浠や汉璧忓績鎮︾洰鐨勫姛鑳姐€?浠ユ瓕鑸炶鏁呬簨锛屼互鏁欒偛瀵撴暀浜庝箰锛屼害鏄€滃湥浜轰箣涔愨€濄€?Secondly, opera inherits the six meanings of poetry and the method of comparing poetry with elegant songs. Use the lyrical style of chanting things to cover up the intention of intervening in politics; use legends to search for God’s skill and criticize the shortcomings of current affairs; use to eulogize the virtues of ancient saints and advise on the way to be benevolent in this world. Finally, the opera integrates the ancient sages’ strategies to enrich the country, the methods of tranquilizing the people, the methods of economy, the methods of strengthening the army, the importance of balance, and the importance of politics, into the images of songs and dances that move with emotion and understand with reason, making the talents The meaning of politics, assisting politics, discussing politics, and assisting politics is naturally revealed from the vivid and vivid plots, without any suspicion of preaching.

The former teacher Weng Ouhong once said many times: “Screenwriters must have the mentality of ‘with me’ and ‘without me’.” The attributes and functions of drama show its sociality and practicality. The literary creation of opera is an individual labor with a strong subjective color. Without the creative subject’s deep feeling and understanding of life, it is impossible to produce “this one” work with personality. This is “with me”. But subjectively, if individual labor is to win the recognition of the society, it must be “selfless” or “selfless”. The “selflessness” and “selflessness” here refer to personal utilitarianism. Mr. Weng once gave me a sentence that will be used throughout my life, “Be successful, don’t be successful.”

Therefore, my experience over the years is: “The history is far away but the meaning is close, the image is virtual but the emotion is true, the matter is vulgar but metaphorical, and the text is simple but rich in flavor.”