民国期间粤剧表演论刍议

Comments of Cantonese Opera Performance During the Republic of China

民国期间,粤剧经历了由盛转衰的重要变化,引来不少批评,尤其是表演方面,争议较大。其中肯定性的批评是褒扬粤剧演员“身与剧化”“毕肖人物”的表演,否定性的批评是粤剧的“定型化”表演,体现不出人物个性。由此,有人主张演员要向话剧、电影学习,探索体验式、自然化表演,也有人提出粤剧应重视“规矩”和“排场”的学习。结合粤剧名伶谈表演的言论和他们的亲身经历,从中国戏曲追求“如何呈现”的表演本体论出发,认为粤剧表演的改进还是应基于行当的恢复、程式的美化,这样既不会让粤剧表演“定型化”,也不会妨碍粤剧表演的丰富性。

During the Republic of China,Cantonese opera has undergone an important change from prosperity to decline.There were a lot of criticism and controversy,especially in its performance.Among them,the positive criticism was on praising the performance of Cantonese opera actors“Integration into the story”and“vivid character”,while the negative criticism was on the“stereotyped”performance which did not reflect the personality of the characters.Therefore,some people advocate that actors should learn from drama and film,explore experiential and natural performances,and some people also suggest that Cantonese opera should pay attention to the study of“rules”and“formality”.The above critical discourse is not only derived from the ancient Chinese opera performance theory,but also influenced by western drama and film.Based on the performance ontology of“how to present”in Chinese opera,the author thinks that the improvement of Cantonese opera performance should be based on the recovery of business and the beautification of program.This will neither make Cantonese opera performance“stereotyped”,nor hinder its richness.