从“大同小异”看中国戏曲的传承和创新——以徐勤纳戏曲导演艺术为例

Inheritance and Innovation of Chinese Opera from the Perspective of“Much of a Muchness”——Taking Xu Qinna’s Opera Directing Art as an Example

当前,面对技术、信息、资本以及权力融合叠加的社会,传统戏曲艺术作为中华优秀传统文化的时代价值不断受到挑战,重估戏曲艺术的价值成为一项重要工作,同时,推动戏曲艺术的传承和创新也成为一项长期事业。戏曲艺术要焕发生机和活力,要求从本体论的层面创建戏曲作为一种“人学”舞台艺术的展开方式,从认识论的层面理清戏曲和观众、戏曲创作与传播、社会与自我之间的多重复杂关系。戏曲导演徐勤纳以自己对戏曲的深度理解和敢于创新的实践灵活运用相应的戏曲形式,建立传统与现实相互关照的语义场,打通戏曲艺术时代创新的元认知。

In the current society,where technology,information,capital and power get converged and overlaid one another,the epochal value of Chinese excellent culture,as a traditional opera art,is constantly being challenged.It has become an important task to reevaluate the value of the opera art;in the meanwhile,it has become a long-term cause to promote the inheritance and innovation of opera art.To make opera art radiate the vigor and vitality,it is necessary to establish opera as a kind of“human”stage art from the ontological level,and clarify the multiple complex relations between opera and audience,opera creation and communication,society and self from the epistemological level.Xu Qinna,an opera director,based on his deep understanding of opera and innovative practice,fl exibly uses the corresponding opera forms to establish a semantic fi eld in which tradition and reality take care of each other,and thus gets through the metacognition of innovation in the era of opera art.