中国戏曲理论的“戏剧化”与本体回归

The Concept of Theatricalization and the Rethinking on the Essence of Chinese Traditional Opera

20世纪戏曲发展出现"戏剧化"倾向,这种倾向在进入1950年代后表现为斯坦尼戏剧理论的影响,戏曲的程式与表演传统逐渐丧失。其根源不仅来自现实,还可以从诸如李渔的戏曲理论尤其是"结构论"、"非奇不传"论溯因,这些观点与现代戏剧理论颇多契合,这使得人们在理论观念上出现一种误导,放大中国戏曲"戏剧化"作用,使其追求走向极端。从历史和现实来看,中国戏曲优秀的作品也都是体现了这些方面的。但除此以外,中国戏曲更重视诗化、诗性和写意空灵。而且所有这些情节、结构、人物塑造最终都变成体现中国戏曲写意和诗性总体原则的有机构成。近年来戏曲创作与理论学术之本体回归,是人们对戏曲发展的自觉和反思,立足戏曲本体,努力建立中国自己的、民族的和原创的戏曲理论体系。

Since 20th century,during the development of traditional Chinese opera,the tendency of theatricalization has become more and more remarkable. Especially after 1950's,on account of Stanislavski's influence,Chinese opera has gradually lost its tradition of stylized performance and art form. The reason not only lies in the modern times,but also could be traced back to Liyu's theory. His focus on the structure and unpredictability of traditional opera somewhat tallies with the modern drama theory,which also gives modern people a kind of misleading. In fact,as an innate characteristic and ideal of traditional Chinese opera,theatricalization always exists in the most outstanding works from ancient times to the present. But what should be paid more attention when speaking of Chinese traditional opera,is its poetic quality and style,and its esthetic charm is composed of suppositional abstractness and free natural spaciousness. All the arrangement of plot,structure and characters have to adhere to this poetic principle and thus constitutes a complex organism with special style of Chinese opera art. Recently,both in the field of works creation and theory research,an increasingly number of people are calling for the returning to the essence of traditional Chinese opera. This tendency reveals the collective desire to rethink the development of Chinese traditional opera,deeply grasp its essence,and try to establish a national and original theory system of traditional Chinese opera.