| 论中国民族歌剧“戏歌综合”理论的美学特征 |
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| 引用本文： | 郭建民,赵世兰. 论中国民族歌剧“戏歌综合”理论的美学特征[J]. 辽宁师范大学学报(社会科学版), 2004, 27(1): 93-96 |
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| 作者姓名： | 郭建民 赵世兰 |
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| 作者单位： | 辽宁师范大学,音乐学院,辽宁,大连,116029 |
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| 摘 要： | “戏歌综合”是中国民族歌剧将戏曲、民歌演唱特色进行辩证综合、风格独异的演唱艺术。它既有民歌演唱的亲切、自然，戏曲演唱的运腔、韵味，但又不同于戏曲演员和民歌手的演唱。它通过“字、声、情、韵”等方面的独具特色的艺术表现，极为鲜明地反映出中国歌剧表演艺术创造的民族品貌。
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| 关 键 词： | 戏歌综合 传承递进 美学特征 |
| 文章编号： | 1000-1751(2004)01-0093-04 |
| 修稿时间： | 2003-08-26 |
On the Aesthetic Characteristic of the Theory of Drama-opera Integration of Chinese National Opera |
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| GUO Jian-min,ZHAO Shi-lan. On the Aesthetic Characteristic of the Theory of Drama-opera Integration of Chinese National Opera[J]. Journal of Liaoning Normal University(Social Science Edition), 2004, 27(1): 93-96 |
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| Authors: | GUO Jian-min ZHAO Shi-lan |
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| Abstract: | Drama-opera integration is a unique art of performance which dialectically integrates the characteristics of both Chinese national opera and folk song. It has not only the gentleness and naturalness of the folk song but also the tune-pattern and lingering charm of the opera. However, it is different from the performance done by both opera and folk song performers. It vividly shows the national style and features created by the artistic performance of Chinese opera by the artistic representation in terms of words, sound, emotion and prosody. |
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| Keywords: | drama-opera integration transmission and succession aesthetic characteristics |
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