试论田沁鑫剧作中的现代艺术观念与东方美学.pdfVIP

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试论田沁鑫剧作中的现代艺术观念与东方美学.pdf

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目录摘要··············································································································3 ABSTRACT········································································································4 引言················································································································6 第1 章用现代艺术观念讲述戏剧·······························································10 1.1 现代戏剧观念概述·············································································10 1.2 田沁鑫的现代艺术观念····································································12 1.2.1 蒙太奇手法之于《红玫瑰与白玫瑰》··································12 1.2.2 间离手法之于《四世同堂》··················································16 1.2.3 元小说手法之于《青蛇》······················································18 第2 章用东方美学演绎戏剧·················································错误!未定义书签。 2.1 东方美学概述····················································································20 2.2 儒家仁学之于《红玫瑰与白玫瑰》················································22 2.3 逍遥写意之于《四世同堂》····························································24 2.4 禅意诉说之于《青蛇》····································································27 2.5 禅茶一味入一戏················································································29 结束语··············································································································32 参考文献··········································································································35 2 摘要田沁鑫的出现，无疑为中国当代剧坛注入了强大的生命力。作为中国当代极具实力和影响力的新锐导演和国家话剧院唯一女导演，她的作品具有强烈的视觉冲击力和极高的戏剧美学价值，兼具世界名著、中国古典题材及当代社会话题，有力拓展了现代艺术观念和东方美学相结合的中国当代戏剧新方向。田沁鑫在中国当代剧坛如此别具一格，可谓是当代剧坛不可多得也不可绕过的人物。但是学界对其关注甚少，尤其是对其作品美学价值的研究更少。本文将以田沁鑫最新一段时期内活跃于舞台市场的三部作品《红玫瑰与白玫瑰》、《四世同堂》、《青蛇》为例，从西方现代艺术观念和东方