论京剧的审美特质——从休闲性与娱乐性说开去

On the Aesthetic Traits of Peking Opera——Starting from Amusement and Entertainment

京剧是我们的国戏,它最本质地传递着中华文化的血脉精神。从文化渊源看,中国戏曲产生于初民劳动之余的祭祀活动,它表达出我们祖先求神庇佑的美好祝愿,宣泄出我们祖先在艰难求生中的种种情绪,载歌载舞,娱神娱人。其后汉代的角抵戏,唐代的参军戏,以至元杂剧、明清传奇,几乎都是沿着休闲与娱乐这一美学追求,在不断向前发展的。京剧,则集我国所有传统戏剧的精华于一身,那出神入化的唱、念、做、打,使它成为一种雅俗共赏的舞台表演艺术样式。京剧以其综合性、虚拟性和程式化的美学内蕴,使观众在欣赏时如醉如痴,获得无穷的审美愉悦。但随着现代生活步伐的加快,京剧需要进行改革,只有这样才能永葆其艺术青春常在。

Peking opera is Chinese national opera, which passes on the quintessence of Chinese culture in a unique way. Seen from the cultural origins, Chinese opera was evolved from the actions of offering sacrifices to gods or ancestors of the ancient people. It expressed the best wishes of our ancestors begging for blessing of gods, and gave vent to their feelings of struggling for life. It took the form of singing and dancing, amusing the gods and also themselves. From then on Jiaodi Han dynasty, Canjun of Dang, Zaju of Yuan and Chuanqi of Qing all developed seeking amusement and entertainment. Having absorbing all the quintessence of traditional operas, Peking opera with superb acting skills has become a performance art that is suitable for beth refined and popular tastes. Peking opera brings its audience endless aesthetic amusement with the aesthetic connotation of comprehensiveness, fantasy and stylization. However, with the speeding steps of modem life, Peking opera needs to be reformed to keep its artistic charm forever.