摘要
《风姿花传》全书七篇,以"花"为喻,围绕"能"这一戏剧形式的最佳舞台效果这一主题展开论述。赋予"花"以相应的美学意义,视客观对象存在的外在事物"花"为驯化审美对象存在,并通过表演者自身努力而实现心技一体的艺术表现力。以"花"来阐明作为观赏对象的艺术美和作为表现主体的演技功夫二者之间的存在关系。同时,"花"也被定义为聚焦于时代不断深化的美学观念而存在,具有多义性与复杂性。用"花"可以解释世阿弥毕生追求的至高艺术理想。
The book Fushikaden consists of 7 chapters, which makes a metaphor on ＂flower＂ and discourses upon the subject matter of the best stage effect for the dramatic form ＂Noh＂. It endows ＂Hana＂ with corresponding aesthetical significance, regards the objective and exterior ＂Hana＂ as the embodiment of tamed aesthetical object, and realizes the expressive force of ＂the harmony of heart and skill＂ through the performers＇effort. It also employs ＂Hana＂ to explain the existing relationship between the artistic values as appreciating object and acting skills as performing subject. While at the same time, ＂Hana＂ is also defined as the existence of deepening aesthetical conception in the focalized era, which takes on multi-meaning and complexity. ＂Hana＂ can be used to explain Zeami lifelong pursuit of supreme artistic ideal.
出处
《重庆大学学报（社会科学版）》
CSSCI
北大核心
2010年第4期129-132,共4页
Journal of Chongqing University(Social Science Edition)
