脚色“行当化”与“表演中心”戏剧形态的复归

The “Categorization” of Role and the Return of “Performance-centered” Opera Form

纵观中国戏剧演剧实践的历程,脚色"行当化"与"表演中心"戏剧形态的复归相映照。其发展过程历经"杂剧色"与"表演中心"诸技艺混合式演出;"脚色制"与"剧本中心"敷演生旦故事;脚色"行当化"与"主角制"演剧形态-"表演中心"的复归。这一过程的实现是清代花部勃兴背景下,脚色的分蘖、细化及行当形成,所达至"表演中心"最终的致敬式回归,它并不是对宋杂剧两百年演剧的简单重复,而是一次在"剧本中心"实践滋养下表演形态的超越,从而展现出中国戏剧循环、复式、叠加的独特演进道路。

Throughout the history of the performance of Chinese opera,the"categorization"of role and the return of"performance-centered"opera form echoed each other.The development of Chinese opera has experienced three stages as follows:the skill-merged performance of zaju and"performance-centered"stage;the story of sheng and dan based on"leading role-centered system"and"playwright-centered"performance;the performance form based on the categorization of role and"leading role system";which also called the return of"performance-centered"opera form.Under the background of the flourishing of the Huabu Opera in Qing Dynasty,the roles started to be divided and specified to"category of role",and finally returned to the"performancecentered"opera form.This is not a simple repetition of the two-hundred-year performance of zaju in Song Dynasty,but a higher-level performance form,which shows the unique evolution path of circulation,reappearance and superimposition of Chinese opera.