摘要
康定斯基与梅兰芳的戏剧艺术思想和实践既体现了中西戏剧艺术美学精神的差异性,又因为二者均注重"内在精神"的"主体性"表现而具有了某些共通性。通过对康定斯基与梅兰芳戏剧艺术创作中所表现出来的艺术综合观和"戏中有画画中有戏"美学理念进行比较研究,探秘二者戏剧艺术美学思想的异同之处,从中发掘其创新思维方式和方法,将有助于丰富中西戏剧艺术美学的内涵和外延,以及创新的方式方法,同时也为中西艺术的当代创新提供了新的视角和维度。
Kandinsky and Mei Lanfang’s thoughts and practice of dramatic art reflect the aesthetic differences between China and the West in this field. However,because both artists attach importance to manifasting "subjectivity"of "inner spirit",they have certain common grounds. Through a comparative study of the comprehensive view of art and aesthetic concept of"There are paintings in plays,there are plays in paintings"( "Drama and painting learn from each other") of the two artists’,this paper aims at finding the similarities and differences between their art aesthetics and discovering their innovative thinking modes and methods,which will help enrich the connotation and extension of Chinese and western drama aesthetics,and provide a new perspective for the contemporary innovation of Chinese and Western art.
出处
《中国美学》
2020年第1期242-255,共14页
Chinese Aesthetics
作者简介
孙晓娜,山东艺术学院副教授,山东大学文艺学博士。
