本文選題：雙向互動(dòng)關(guān)系 + 戲種　； 參考：《電影評(píng)介》2017年17期

【摘要】：正20世紀(jì)70年代末,中國(guó)開(kāi)始了改革開(kāi)放,低迷已久的經(jīng)濟(jì)重新恢復(fù)生機(jī),整個(gè)社會(huì)也展現(xiàn)出百?gòu)U待興的狀態(tài)。就舞臺(tái)藝術(shù)而論,中國(guó)也逐漸擺脫了8部樣板戲統(tǒng)治舞臺(tái)的單調(diào)局面,各地的地方戲開(kāi)始逐漸重返舞臺(tái),這為電影事業(yè)的重新起步提供了重要的契機(jī)。文化學(xué)者孫立柏先生曾肯綮地指出:"我國(guó)80年代電影的復(fù)蘇,實(shí)際上是承繼了改革開(kāi)放以來(lái)地方戲崛起的余緒。"[1]因?yàn)榈胤綉蚨啾Ａ袅酥袊?guó)古代文化的要素,這些地方戲種不斷復(fù)興,直接
[Abstract]:In the late 1970s, China began reform and opening up, the long depressed economy came back to life, and the whole society was in a state of waste. As far as stage art is concerned, China has gradually got rid of the monotonous situation that 8 model operas dominate the stage, and local operas have gradually returned to the stage, which provides an important opportunity for the new start of the film industry. Cultural scholar Sun Libo once pointed out: "the revival of Chinese movies in the 1980s was in fact a continuation of the rise of local opera since the reform and opening up." [1] because local operas have retained the elements of ancient Chinese culture, These local operas are reviving and direct
【作者單位】： 浙江工商大學(xué)人文與傳播學(xué)院;
【基金】：浙江省哲學(xué)社會(huì)科學(xué)重點(diǎn)研究基地(浙江工商大學(xué)東亞研究院)2016年度一般項(xiàng)目:東亞留學(xué)生漢語(yǔ)語(yǔ)用失誤研究(課題編號(hào):16JDGH033)成果
【分類(lèi)號(hào)】：I206;J909.2
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本文編號(hào)：1886045