戏无蓝黄,曲无中西——基于中国戏曲理论中西之争的一个考察

There is No Distinction Between Chinese and Western Opera:——An Investigation Based on Chinese-Western Controversy About Chinese Opera Theory

探讨20世纪以来的中国戏曲理论发展史,往往会遇到如何看待和理解西方理论思潮及观念对中国戏曲创作及研究的影响。梳理百年来中国戏曲理论的发展历程,不难勾勒出一条建立并试图突破中西二元对立思维方式的复杂轨迹:从戏曲改良运动主张"全盘西化"走向全球化浪潮下倡导中西文化的多元融合。事实上,文化差异之间的论争是一种现象辨析而非思维对立的表现。要跨越二元对立的僵化模式,唯有不再将"中西"作为一个对立谱系,才能使得研究者不再受限于"身份建构"的藩篱,从而实现真正无蓝黄之分、无中西之别的中国戏曲理论的多元发展。

To discuss the history of development of Chinese opera theory since the 20 th century,we often encounter such a problem： how do we view and understand the influence of western theoretical trends and ideas on creation and research of Chinese opera？ And to sort out its course of development over the last century,it is not difficult to outline a complex trajectory of establishing and trying to break through the dualistic thinking styles of both China and the west： from the dramatization of movements which advocate the ＂global westernization＂to the globalization wave that advocate the multiple integration of Chinese and western cultures. In fact,the controversy about cultural differences is a manifestation of phenomena rather than contradictory thinking. To cross the rigid pattern of duality,only when ＂China and the West＂is no longer considered as an opposing lineage can researchers be no longer confined to the ＂identity-building＂barriers,thus realizing no Chinese-Western distinction about the pluralistic development of Chinese opera theories.