华丽形式与极简风格——从《梅兰霓裳》与《魔笛》看当今中西戏剧走向

Between the Magnificent Form and the Minimal Style: an Analysis of the Trends of Contemporary Chinese and Western Theatres, based on Meilan Colorful Raiment and The Magic Flute

《梅兰霓裳》与《魔笛》两剧的演出,前者追求华丽与新奇,有西方歌剧的影子;后者寻求极简与古朴,有中国戏曲的影子。本文从观众角度,通过导演处理、演出与观众等方面的对比,来研究布鲁克的戏剧观,分析当今中西戏剧的一些走向,探讨中国戏曲的发展前景。把巨资耗费于舞台、布景、服装和道具,对华丽形式的外在追求,代表着目前中国演剧艺术的潮流。布鲁克极简的导演处理,则代表着西方戏剧实验的最新动向。背道而驰的两种风格,哪种更宜于舞台演出?事实证明外在华丽不适合传统戏曲的表演,更不能成为中国戏剧发展的主流。而布鲁克的极简处理,却处处闪烁着戏曲的原始风貌。返朴归真才是中国戏剧家应努力的方向。

Meilan Colorful Raiment and The Magic Flute form a contrast： one follows the pattern of western opera and presents magnificent and enchanting spectacles; the other reflects the convention of Chinese Xiqu and aims to create the simple and antique atmosphere. From the perspective of the audience, this paper analyzes Brook＇ s dramatic theories through comparison of the two plays in directing, performance and audience to discuss the future development of Chinese and western drama and the prospects of Chinese Xiqu. The huge expenditures on stage, setting, costume and props, as well as the pursuit of external magnificence are demonstrations of the current trends of Chinese theatre. Brook＇s directing with extremely simple style represents new trends in western experimental theatre. Which of these two completely different styles better suits the stage？ It has been testified by the theatrical practice that the external magnificence does not work well with the performance of Chinese Xiqu and is not to become the mainstream in the development of Chinese drama. Brook＇s minimal directing, on the other hand, shines with the original charm of Chinese Xiqu; returning to the simple and the original is the prospect that Chinese dramatists should have.