梅兰芳与中国戏曲古典美学的终结——兼与邹元江教授商榷

Mei Lanfang and the Ending of the Aesthetics of Chinese Traditional Operas——A Discussion with Professor Zou Yuanjiang

对于20世纪的中国戏剧史来说,"梅兰芳现象"究竟意味着什么?梅兰芳舞台艺术的美学意义究竟何在?梅兰芳的舞台艺术实践,以其典雅蕴藉的古典风味,而成为时代的绝响。梅兰芳之后再无梅兰芳。这不仅意味着中国古典戏曲美学的终结,而且也体现出一种"新古典"的生成。虽然梅兰芳未必建构出严密的美学理论体系,但是,梅兰芳的舞台艺术无疑代表着中国戏曲古典美学的传承;同时伴随着西方戏剧美学的传入,而创造出一种新古典的美学样式,且可以由此来审视它在现代文化的进程中的历史命运。

What is the significance of ＂the phenomenon of Mei Lanfang＂ in the history of Chinese operas？ What＇s the aesthetic significance ofMei Lanfang＇s stage art, which is endowed with elegant and classic stage art, unique in his era without any successful followers？ Mei Lanfang not only marks the ending of the aesthetics of Chinese traditional classic operas, but also opens a new era of＂new classics＂. Although he didn＇t establish a strict theoretical system, undoubtedly, Mei＇s art should be regarded both as the inheritance of the aesthetics of Chinese classic operas, and the aesthetics of new classics under the influence of western theatre aesthetics. From this we may evaluate the significance of his art in the conurse of modem culture.