戏曲现代戏创作的理论误区与现实选择——兼谈张曼君“新歌舞剧”的历史定位

The Theoretical Misconceptions and Realistic Choices of Modern Xiqu Creation: Additionally on the Historical Significance of Zhang Manjun’s New Opera of Song and Dance

戏曲现代戏创作至少存在着三个方面的理论误区:一是把程式性作为中国戏曲的一大特征,进而认为,戏曲现代戏创作如果不实现程式化,就不是戏曲;二是把行当化视为戏曲的又一特征,进而认为,戏曲现代戏必须用行当塑造人物,否则就不是戏曲;三是把"戏曲化"作为创作的目标,把"戏曲化"作为评价现代戏成功与否的重要标准,然而对什么是"戏曲化"却语焉不详。但是这些理论误区并没有束缚戏曲现代戏创作的实践。以张曼君为代表的戏曲导演,在现代戏的创作实践中,创造了"新歌舞剧"现象。这实际上是回到了传统戏曲诗、歌、舞三位一体的以"乐"为本位的综合艺术形态上,从而突破了"程式化""行当化""戏曲化"的魔咒,探索出了戏曲现代戏创作与发展的新路。

There are at least three theoretical misconceptions on the creation of modern xiqu: to consider conventionalization essential to xiqu,to consider typification of roles essential to xiqu,and to consider "xiquness," whose meaning is rather vague,as the creative goal and artistic criterion of xiqu.However,these misconceptions fail to hinder the practical development of modern xiqu creation.Directors like Zhang Manjun have created an innovative genre known as "new opera of song and dance." This maneuver,in fact,signifies a return to the comprehensiveness of traditional xiqu,which,centering on music,features a trinity of poetry,song,and dance.Through this effort,modern xiqu is able to disentangle itself from the contraint such as conventionalization,typification of roles,as well as "xiquness" and strike out a new path for future development.