戏曲程式的表意和文化信息——以几个取材于西方剧作的戏曲演出为例

Expression and Cultural Information of Stylization of Traditional Chinese Opera:Taking Operas Adapted based upon Western Plays as the Examples

惯于西方理念的话剧人乃至现在一般的文化人常常对演员身上的微妙动作视而不见,因为戏曲动作多而话(这个"话"应该包括对话与唱词这两种含有文字的成分)少就二言以蔽之:内容单薄,形式空洞。舞台上话说得少是否必然内容也少?程式化动作的表意功能是否必然不如说出来或者唱出来的"话"?文章拿取材于西方话剧的戏曲作品为例,对这些问题予以论述。

Audiences who are accustomed to western drama and even ordinary cultural workers often turn a blind eye to actors＂ subtle actions, and they often state that traditional Chinese opera is thin in content, and vacant in form since there are more actions than dialogues or speeches in traditional Chinese opera. Is that statement right？ Is the expres- sive function of stylized actions necessarily inferior to dialogues or speeches？ In this paper, wetl like to discuss such problems based upon a study of operas adapted from western plays.