精神的越界——西潮中的新时期川剧艺术

Spirit Crossing the Border: The New Era of Sichuan Operaart in Western Tides

在以解放思想为标志的变革时代,新时期川剧经历了一个精神越界——越过民族文化艺术的既定边界,走向东西方文化艺术的碰撞、融合的过程。在这个过程中,川剧艺术出现了艺术样式越界、戏剧观念越界、人文思想越界等现象。其中,凸显出了一种新浪漫主义诗学引领下的再生性表现主义。相对于传统的中国川剧美学和20世纪的西方表现主义文艺思潮,新时期川剧艺术通过其代表性剧作实现了审美上的质的飞跃。同时,新时期川剧高度重视对川剧艺术本身和其中蕴含的优秀民族文化传统的充分吸纳,在创造传承之间保持一种平衡,确保新时期川剧实现精神越界的戏曲化、川剧化的美学目标。

During the changeable age marked by emancipating the minds,the new era of Sichuan Opera has gone through the spirit crossing the border which is to cross the border of national culture and arts,experiencing the collision and integration of oriental and western culture and arts. During this transfer,Sichuan Opera begins to appear phenomena like crossing the border of artistic style,theatrical concept,humanistic idea and so on. The most prominent feature is the reproducible expressionism guided by new-romantic poetics.Compared with traditional Chinese aesthetics of Sichuan Opera and Western literary trend of expressionism in the last century,the new era of Sichuan Opera has realized a substantial leap in the aesthetic aspect by its most representative works. Meanwhile,the new era of Sichuan Opera highly values its implied excellent national cultural traditions and the balance between creation and inheritance,so as to achieve the aesthetic objective of making the spirit cross the border.