沧海桑田:二十世纪中国戏剧版图巨变

The Dramatic Changes in 20^(th) Century Chinese Drama

本文研究中国戏剧整体格局在20世纪的演变轨迹。从声腔剧种角度看,20世纪中国戏剧经历了从梆、黄勃兴到小戏崛起两次巨变,兼之话剧引进与50年代剧种激增,整体格局与19世纪末已有本质不同。但是,与20世纪中国戏剧呈现出美学上的多元化趋势相伴的还有相反的现象,不同剧种命运悬殊且渐成中心—边缘的二元格局,话剧与京剧成为各地方剧种“改造”与“进化”的目标。这一沧桑巨变不能仅从艺术层面解读,商业、政治与艺术的互动随处可见,其中既清楚地映射出社会向现代化转型的历史背景,同时又是戏剧生存与发展经常背离艺术规律的主要诱因,功过耐人寻味。

This paper studies the general pattern of Chinese drama in its evolution in the 20th century. From the point of view of the acoustic genres, the Chinese drama has witnessed the rise of Bang and Huang, two dramatic changes of minor plays, the introduction of plays, and the great increase of dramatic genres in the 1950s, all of which made the general pattern of Chinese drama different from that at the end of the 19th century. However, accompanied with this multiple tendency in dramatic aesthetics there is a reverse phenomenon in which the distantiation of genres has grown into a binary opposition between the central and the marginal, with plays and Peking Opera becoming the objective of local efforts. These great changes can not be understood only on the artistic level because clearly visible are the interactions between art, politics and commerce. The historical background of the social transformation towards modernity obviously led the Chinese drama off its orbit.