对京剧表演对象化思维的反思

Reflections on the Objectification of Peking Opera Performance

中国传统戏曲艺术百年来强烈地受到西方话剧思维观念的深刻影响,以致至今早已成为学界和演艺界习焉不察的思维惯性。这里应当加以辩难的问题是:是对象化思维,还是非对象化思维;是个性化思维还是类型化思维;是诉之于"真"的体验,还是诉之于"美"的生知;是以歌舞演故事,还是以故事梗概为媒介显现歌舞;是"是"(什么),还是"怎是"。

The art of traditional Chinese opera was so affected by the ideology of Western drama for more than a hundred years that the academic and theatrical circles have become accustomed to the western ideology. The problems in this ideology are whether it should focus on： objectification or non- objectification, individualistic thinking or stereotypical thinking, ＂truth＂-ofiented experience or ＂aesthetics＂- oriented transcendental knowledge, acting a story by singing and dancing or showing singing and dancing by telling a story, and whether the opera should aim at ＂what＂ or ＂how＂.