布莱希特与中国古典戏剧中的“剧场性”

Brecht and“Theatricality”in Classical Chinese Theatre

中国古典戏剧(戏曲)的审美追求既不同于布莱希特诉诸理性的“间离效果”,也与因循理解中目标为由“移情”而“认同”的西方资产阶级戏剧相异。这一古老而常新的传统之宗旨是“以情动人”,又从不为一种自然化的再现表达费心机。她的艺术前提可称为是一种虚拟审美观:这种虚拟审美通过“虚拟表意”的组织方式和“非凡程式”的具体展现发生。观众在完全意识到其“虚拟性”的心智过程中,决定去相信其真;作为这一过程中的内在结构性部分,他们由参与戏曲展开的“感天动地”而更新其人间绵延的“情感之域”。笔者称此为“剧场性”。

The aesthetic aim of classical Chinese theatre(Xiqu)not only distinguishes itself from the Brechtian effect of alienation but also defines itself against the principle of“empathy”as it is normally understood in Western bourgeois theatre.The aim of Chinese performance is to“move people”with and into“deep feelings”.Chinese Xiqu never strives for naturalized representation.It is premised upon an aesthetic notion that might be translated into English as“suppositionality”:it actualizes itself through acting that is suppositional in the process of expressing signification and extraordinarily stylized in its specific executions.Fully cognizant of its aesthetic conventions,the audience reaches consensus about the truthfulness of the theatrical situation and actively participates in a“sphere of feelings”whose energies“move heaven and earth”,which is called theatricality.