余叔岩艺事评论浅议

On the Commentary on YU Shuyan’s Art Events

余派艺术批评从初创期(1910年代后期)到完善期(1980年代中期),大约经历了60多年,贯穿着三种批评态度和两种路径。三种态度即把演员当艺术家的主观立场、实事求是的探索精神、学术型的研究思路,两种路径即艺术鉴赏及将鉴赏上升到学术研究层面。余叔岩艺事批评始于内行、细致、到位的鉴赏,戏迷关注的是身上功夫,同台演员则注重内心体验和动作逻辑。"余迷"中有一批具备现代批评意识的文人、学者,他们用品鉴诗文的严肃态度对待余叔岩的舞台艺术和演唱艺术,使余叔岩艺事评论上升到学术研究层面。还有一批新音乐工作者以现代文艺观从事"余评",为余叔岩艺事评论赋予了现代意识。

YU’s school of art criticism has gone through more than 60 years from the start-up period(late 1910 s) to the perfection period(mid-1980 s), included three critical attitudes and two paths. The three attitudes are the subjective position of the actor as an artist, the spirit of seeking truth from facts, and an academic research approach. The two paths are art appreciation and raising appreciation to the level of academic research. YU Shuyan’s art criticism began with expert, meticulous, and in-depth appreciation. The theater fans focused on actors’ body skills, while the actors on the same stage focused on their inner experience and action logic. In YU’s fans, a number of literati and scholars who have a modern sense of criticism. They adopted the way to appraise poems to take YU Shuyan’s stage art and singing art seriously, which raised YU Shuyan’s art commentary to the level of academic research. There is also a group of new musicians engaged in "YU commentary" with a modern view of literature and art, which has given YU Shuyan’s art commentary a modern awareness.