中国式“蒙太奇”:齐如山与梅兰芳重新组织的现代性京剧

Qi Rushan and Mei Lanfang's Chinese Montage:Modernizing Peking Opera Through Recomposition

当中国迎来20世纪的时候,京剧却迎来了危机:观众开始疏远并批评这项表演艺术。其原因是京剧所传达和创造的意义并不被已跨入现代都市体验的居民所接纳和认同。梅兰芳和齐如山视改良京剧为己任,通过创立并运用"组织"(中国式蒙太奇)这一重要原则重组京剧,使其得以在保留传统元素的基础上贴合并引领新的现代观众的审美。这一"组织"并不只在技术层面产生效应,而是将一种新的思维方式带入京剧,这种批判式思考使得京剧焕然一新并在1930年代逐渐成为国剧。本文力求实现三个意义:第一,通过揭示京剧"组织"与爱森斯坦蒙太奇之间的相联性,强调京剧在现代化过程中的新变,将其纳入1930年代世界艺术创新的版图。第二,重新解读京剧在海外表演时如何被海外艺术家解读的意义。认为与其批判性否定西方学者对于京剧的阅读,或称之为误读,更行之有效的方法是"对话"。第三,试图打破京派京剧是固守中国传统的思维模式,而将其现代性突显出来,即:京派京剧中有不断与现代性磨合而产生的现代戏剧性,而中国京剧的"蒙太奇"正是诞生于其自身的社会历史环境中。

This paper examines the efforts of Qi Rushang and Mei Lanfang to transform the traditional Peking opera into a new art form for the modern audience during the 1930 s. The method of Chinese montage they used, which they named as"recomposition",is essentially a technique that deconstructs and reassembles the elements of traditional opera,such as gestures and mise-en-scene,while keeping intact its traditional essence. This paper hopes to interpret the connections between Eisenstein,Brecht,and Peking Opera,so as to explore the strong correlations between artistic forms and montage across borders in the1930 s. It highlights the fact that while the concept of recomposition was noted in the West by such figures as Eisenstein,the form of Chinese montage was not derived from the European or Eisensteinian montage. Instead,it served the purpose of tackling local issues and specific aesthetic problems. This paper concludes that Mei Lanfang and Qi Rushan's legacy lies not so much in preserving the traditional repertoire,as in transforming Peking opera into an art form that is simultaneously the most modern and the most traditional.