对drama的再认识——兼论戏曲传奇

Reconsideration of Drama,and Traditional Chinese Xiqu of Chuanqi

关于drama与theatre的区别,戏剧学界或者认为前者指向戏剧的文学性而后者指向戏剧的剧场性,或者认为前者指向西方戏剧而后者则包含了世界各民族的戏剧。本文提出第三种观点:drama是文艺复兴所开创的现代世纪的戏剧文体,它最重要的文体原则"情节整一性"是由现代世纪的个人主义价值观和理性主义精神所决定的。本文还以中国戏曲为例,描述了中世纪戏剧文体的"传奇"原则,分析了中世纪集体信仰的价值观对其戏剧文体的决定作用。本文指出了drama的三个特征:与中世纪戏剧的"大团圆"结局不同,drama的"默认"形态是悲剧与喜剧;与中世纪戏剧行为的教会、宫廷、政府、行会、宗社、家庭等集体主体不同,drama是建立在"票房"基础上的个人行为;与中世纪戏剧的道德教化不同,drama是演出者与观众的平等交流。

Discussing the differences between drama and theatre, some academics argue that the former shows the literary dimension of theatre while the latter shows the theatricality; others argue that the former refers particularly to Western theatre, whereas the latter refers to the theatre of the world in general. This essay proposes a third view： drama is a specific theatrical form of the modem age which originated in the Renaissance; its most important stylistic principle ＂unity of plot＂ is determined by the individualistic values and rationalism of the modem age. This essay takes Xiqu as an example that demonstrates the essential structure of medieval theatre and analyzes the decisive role of medieval collective values in the shaping of the theatrical form. This essay focuses on three characteristics of drama： a movement past the ＂happy reunion＂ ending of medieval theatre to a ＂default＂ of drama in tragedy and comedy; moving from the collective subjects of medieval theatrical activities such as church, court, government, guild, clan and family, to a more individualistic behavior based on ＂box office＂; moving away from the moral education of medieval theatre, drama is the communication between performers and spectators on an equal footing.