误读视阈下布莱希特对中国戏曲的接受

The Acceptance of China Dramas by Brecht in the Perspective of Mis-interpretations

布莱希特的叙述剧"间离效果"理论作为对欧洲传统亚氏戏剧之革新,在"演员与角色的辩证关系"、"演员与观众的辩证关系"两个层面受到中国戏曲的启发影响。布氏对中国戏曲的认知与解读既敏锐捕捉了其中的某些美学特质,同时也存在误读。在艺术展示的动机上,布氏戏剧陌生化手法的核心是对传统戏剧写实幻觉的消解,而中国戏曲的艺术展示其核心则是一种写意审美表现;在观众的欣赏态度上,布莱希特防止观众沉溺于虚拟情境是为了让其保持清醒和冷静,中国观众与虚拟情境保持距离则是出于艺术鉴赏的目的;在演员的情感体验上,中国戏曲演员的表演并非是为了使观众完全不动感情,相反是力求通过出神入化的表演感染观众。

As the innovation of European traditional dramas, the alienation effect proposed by Brecht in narrative dramas is enlightened by Chinese dramas in terms of “the relationship between actors and roles” and “the relationship between actors and audience”. The recognition and interpretation of Brecht on Chinese dramas have grasped some aesthetic features, but there are also mis-interpretations. In the motivation of artistic presentation, the kernel of Brecht ’s defamiliarization is a discomposition of realistic illusion of traditional dramas, while the kernel of Chinese dramas is a prestation of freehand aesthetics. In terms of audi-ence’s attitudes, Brecht proposes to prevent the indulge into dramas so as to keep them calm, while Chinese dramas do so for the purpose of artistic appreciation. As to the emotional experience of actors, the performance of Chinese actors is not to avoid the e-motion of audience, and they try to touch the audience with their performance.