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在线阅读 --哲学社会科学版 2005年4期《观众心理与戏曲审美建构》
观众心理与戏曲审美建构--[在线阅读]
吴功正
江苏省社会科学院, 江苏南京 210013
起止页码: 97--101页
DOI:
摘要
戏曲的文本传播与场上传播所派生的命题是案头之作与舞台之作。它们在差异和联系中互动,其联结点是观众心理学。观众心理是左右戏曲审美建构无形而巨大的抓手。研究戏曲美学必须加入观众心理这一维。中国观众的命运关怀心理、趣味性心理、观赏性心理、满足性心理等,规范和导引着戏曲的审美对象、方向、方式和形态。观众心理具有组合性、流变性、调控性等特征,它是一柄双刃剑,具有正负面价值;其反馈和制约、调节功能成为戏曲综合性审美机制及其诸种审美特征的重要基础,也形成了中国戏曲活力和惰力的双重性质。

The psychology of the audience and the aesthetic construction of dramas
WU Gong-zheng
Jiangsu Academy of Social Sciences, Nanjing, Jiangsu 210013, China
Abstract:
Abstrcat The themes of dramas derived from the text or the theatre are the themes in manuscripts or on the stage. Despite their differences they are interrelated, joined together by the psychology of the audience, an intangible key to the aesthetic construction of dramas. Hence, the writer of the paper argues that the study of dramas needs to be extended into the dimension of the psychology of audience. Research shows that Chinese audience tend to show their psychology of solicitude, curiosity, appraising, and satisfaction, which serves as the norm and guidance of the aesthetic value of dramas in relation to the object, direction, methods, and forms. The psychology of audience is combinatory, flexible, and controllable, which can be of either positive or negative value. This has become the basis for the duality of both vitality and indolence of Chinese dramas.

收稿日期: 2005-3-17
基金项目:

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