中西文化比较视域下中西艺术精神本体在音乐剧中的体现——以中国音乐剧《断桥》和美国音乐剧《汉密尔顿》为例

The Embodiment of the Ontologies of Chinese and Western Artistic Spirits in Musicals from the Perspective of Chinese and Western Cultural Comparison: Taking the Chinese Musical Broken Bridge and the American Musical Hamilton as Examples

Against the backdrop of globalization, the integration of Chinese and Western cultures is inevitable. Art is an important component of culture and also a reflection of contemporary literature, history, and politics. As an art form that integrates singing, dancing, and acting, musical theatre was introduced to China after the reform and opening-up, and its development has always been underestimated. Therefore, this paper will select representative Chinese and Western musicals from the perspective of Chinese and Western cultural comparison, starting from the embodiment of the ontologies of Chinese and Western artistic spirits in musicals, to explore the embodiment of the humanistic spirit ontology of the Chinese artistic spirit “unity of heaven and man” and the scientific spirit ontology of the Western artistic spirit “subject-object dichotomy” in musicals, thereby promoting the integration of Chinese and Western cultures through the study of the characteristics of the ontologies of Chinese and Western artistic spirits and advancing the development of Chinese musical theatre.

在全球化的大背景下，中西文化的融会贯通无可避免。艺术是文化的重要组成部分，也是当时文学、历史、政治的映照。音乐剧作为一种集唱歌、跳舞、表演为一体的艺术形式，自改革开放后传入中国，其发展一直处于低估状态。故而本文将从中西文化比较视域下选取中西代表音乐剧，从中西艺术精神本体在音乐剧的体现出发，探究中国艺术精神“天人合一”的人文精神本体和西方艺术精神“主客二分”的科学精神本体在音乐剧中的体现，从而通过对中西艺术精神本体特质的研究促进中西文化的交融，推动中国音乐剧的发展。