作为审美思维限制的戏曲艺术的间离——以梅兰芳电影《游园惊梦》的昆曲表演为例

Inconsistency in Traditional Chinese Theatre as a Result of Limits of Aesthetic Thinking: A Case Study of Peony Pavillion by Mei Lanfang

作为间离的戏曲艺术既表现为案头与场上的间离、唱词与声腔的间离,也表现为体验与表现的间离,由此构成了不同于西方话剧的作为审美思维限制的戏曲艺术的独特表现方式。梅兰芳电影《游园惊梦》的昆曲演出本主要采用《缀白裘》伶人演出本,这就带来诸多可深入思考的问题。梅兰芳在以他的名誉出版发表的文献中所坚持的戏曲表演原则与他实际在舞台银幕上的表演效果不相吻合的状况提醒我们,既不能以梅兰芳的文献作为唯一理解他的表演美学的路径,也不能只以梅兰芳舞台银幕上的表演效果来判断他的表演思想的走向。

Traditional Chinese drama is an art of inconsistency： the text may differ from the performance, the lyrics may have little to do with the tunes, and what a performer expresses may not be what he/she experiences emotionally. These facts have shaped unique forms of traditional Chinese theatre that differ from western drama. The author of this paper conducts a case study of the movie Peony Pavilion, in order to show that the principles in published literature under Mei Lanfang＇s name may not be in consistency with his actual performance, on stage or on screen. We should neither understand Mei＇s aesthetic approach solely by his texts, nor take his actual performance as the only manifestation of his ideas on acting.