非剧本因素:周贻白戏曲学著述的认知重心与建构主体

Non-scenario Factors: the Cognitive Focus and Construction of the Subject of Zhou Yibai's Traditional Opera Writings

周贻白是20世纪开始频繁使用和积极推广"戏剧"话语的第一位戏曲学家,这是他跟前后戏曲学家格外不同的地方。他所以频繁使用和积极推广"戏剧"而非"戏曲",在他看来最根本的原因是,只有以"戏剧"作名称才能准确地表达这种中国特有的舞台表演艺术样式的本质,而"戏曲"则只侧重于剧本,较少涉及舞台表演艺术。他考察、审视和阐释戏曲总是以剧场、剧团、演员、角色、表演、声腔诸因素为对象,把它们作为自己戏曲学著述的认知重心和建构主体,而不是像绝大多数戏曲学家那样始终把剧本当作关键,几乎不考虑剧本以外的其他因素。周贻白的出现使长期囿于戏曲文学文献的戏曲学研究的偏颇状况获得了不同于以往的全新改变。

At the beginning of the 20th century, Zhou Yibai is the first traditional opera expert who frequently usesand actively promotes the ＂drama＂ discourses, which differentiates him from other traditional opera experts. ZhouYibai frequently uses and actively promotes the ＂drama＂ rather than ＂ traditional opera＂ in that he holds that onlythe name of ＂drama＂ can accurately express the nature of the stage performance art style unique to China, whilethe ＂traditional opera＂ only focuses on the scenaria, less involves the stage performance art. He inspects, reviewsand interpretats the traditional opera always based on the factors like theatre, theatre company , actors, characters,performance and operatic tunes. He takes these factors as cognitive focus and construction of the subject in his tra-ditional opera writings unlike the vast majority of traditional opera experts who take the script as the key withoutconsidering other factors except the script. The appearance of Zhou Yibai brings different and new changes to tradi-tional opera study which has been long-term constrained by traditional opera literature research.