20世纪欧洲现代戏剧对中华戏曲艺术的接受研究

Study on the Acceptance of Chinese Opera Art by European Modern Drama in the 20th Century

20世纪欧洲戏剧由传统走向现代:布莱希特强调由陌生化效果营造的戏剧"距离",梅耶荷德重拾戏剧舞台的假定性,爱森斯坦提出蒙太奇在形象刻画中的运用以及包括丹钦科在内的一批现实主义戏剧家也在追求不同于自然主义完全写实性的戏剧偏爱。在此过程中,欧洲戏剧受到了来自不同地域文明的浸染与影响。其中,中国传统戏曲因其程式化的形式因而被欧洲剧作家们关注。这种形式因素打破了时空的在场性局限,于有限的空间内激发观众的想象力,使其获得相应的审美愉悦。布莱希特等人将其运用在自身的艺术实践当中,并借此走上了戏剧的现代之路。

In the 20 th century,European drama changed from tradition to modernity.Brecht emphasizes the dramatic"distance"created by the effect of defamiliarization,Meyerhold resumed the assumption of drama,Eisenstein put forward the application of montage in image depiction,and a group of realistic dramatists,including Danchenko,also pursuing a preference for drama that is different from naturalism which values full realism.In this process,European drama was influenced by different civilizations.Among them,the Chinese traditional opera is concerned by the European playwrights because of its stylized form.This form factor breaks the limitation of the presence of space and time,stimulates the imagination of the audience in the limited space,and makes the audience get the corresponding aesthetic pleasure.Brecht et al.used it in their own artistic practice and thus embarked on the modern road of drama.