中西戏剧理论的“错位”与“化用”——读邹元江《梅兰芳表演美学体系研究》

The Misplacement and the Integrating Utilization:A Review of ZOU Yuanjiang's Research of MEI Lanfang's Aesthetical System of Performance

邹元江把建立于童子功基础上的程式化的"意象聚合"视为中国传统戏曲审美意识的最根本的特色,认为西方20世纪现实主义文艺思潮的影响在中国戏曲界造成了持久的文化错位,梅兰芳在艺术实践上之所以还能取得某些成功,正是因为他不自觉地化用了西方戏剧理论的某些提法,其实仍然是立足于中国传统戏曲艺术的审美原则之上的,当他死板地完全按照西方戏剧理论的要求来"革新"中国传统戏曲时,则遭遇到了失败。虽然中国传统戏曲艺术的重点主要在于形式本身的流光逸彩,但以童子功的方式所固定下来的一套程式并不是先天具有的,而是因为同一些传统戏曲题材的内容早已固化为心照不宣,人物的性格情感也已变得定型化和模式化,这样才形成起来的。这套形式如果完全脱离了剧中人物的性格情感而卖弄起纯粹的技巧来,它就变成了僵死的空洞形式。中国传统戏曲最初还是很重视打动人的情感作用的,这并不是斯坦尼的专利。必须从这一源头解释梅兰芳为什么自然而然地就接受了斯坦尼的情感体验说。人类艺术毕竟有一些东西是共同的,梅兰芳的成功与其说是受到了西方艺术理论的影响,不如说是实现了中国传统戏曲艺术的"现象学还原"。在新文化运动和斯坦尼表演体系的刺激下,梅兰芳等一大批艺人在更高层次上(即在普遍人性的层次上)复活了古人寄托于表演技巧之上的情感体验原则,但又不离乎他们基于童子功训练的表演程式,这构成了对中国传统表演艺术的一个否定之否定的综合。

ZOU Yuanjiang views the Image Combination based on Tong Zi Gong(Kids Kong Fu,obtained from a series of professional courses since childhood)as an essential feature of Chinese traditional Xiqu.He believes that the influence of western realism literary thoughts in 20th century has caused a lasting cultural misplacement in Chinese theatrical circles.In his view,Mei Lanfang’s success in art practice benefits from his unintentional integrating utilization of western theatrical theories,and in fact,Mei’s success was still based on Chinese traditional Xiqu aesthetic principles.So Mei failed,when he attempted to make innovation on Chinese traditional Xiqu performing styles by strictly following some western theatrical theories.This paper argues that although Chinese traditional Xiqu arts mainly focus on its wondrous forms,yet the set of stylized performance which fixed and handed down by the form of Tong Zi Gong is not innate.Instead,the reason behind its formation lies in that the contents and themes of many Chinese traditional Xiqu works have already become a tacit consent,meanwhile,many Xiqu characters’emotions have also become shaped and patterned.Nevertheless,the set of performing styles would be nothing but an empty form if it just aims at showing its pure skills and denies to express human personalities and emotions.Initially,Chinese traditional Xiqu art puts great emphasis on expressing human emotions,which is not Stanislavsky system’s patent.So we need to explain why Mei Lanfang would naturally accepted Stanislavsky’s Emotional Experience theory from this perspective.Human arts,after all,have many things in common.Mei’s success should be regarded as an achievement of“phenomenological restoration”of Chinese traditional Xiqu,rather than a result of western theory’s influence.Under the stimulus of New Culture Movement and Stanislavsky system,a large number of Chinese Xiqu artists like Mei Lanfang have revived the Emotional Experience principle on a basis of certain performing skills from a higher level(on a level of common humanity),and meanwhile,they did not deviate from the stylized performance based on Tong Zi Gong,and all of these have formed a synthesis of double negation of Chinese traditional performing arts.