论京剧《霸王别姬》的具身呈现及场上表演的文本结构

On the Embodied Presentation and Text Structure of the Performance in Beijing Opera Farewell My Concubine to the King

杨小楼的具身表情思维对梅兰芳表演的深刻影响是毋庸置疑的。当年京剧鼎盛时期之所以能出现不少全能的戏曲艺术家,是因为戏曲演员从童子功训练开始就扎实掌握了“可引用的姿势”,而能不断组合、化合姿势的直接审美效果就是具身表情的凸显。“梅党”编攒《霸王别姬》和梅兰芳、杨小楼在该剧上演后反复删减修改的过程,也充分说明正是具身表情思维决定了传统戏曲场上表演文本结构的生成。这种在元杂剧中就以插演方式存在的场上表演的文本结构,凸显了有话则长、无话则短的场上搬演的简繁适度、冷热调剂规则,观赏者由此获得了非“最高行动线”情节高潮的情感聚合审美高峰体验。这种非封闭的开放性插演结构,也为观赏者在期待视野里目睹艺术大家临场插演逞才能留下了瞬间掌声间断剧情的审美时空。

The profound impact of Yang Xiaolou's embodied expression thinking on Mei Lanfang's performance is beyond doubt.The reason why Peking Opera was able to become an all-around opera artist during its heyday was because opera actors had a solid grasp of"quotable postures"from the beginning of their Tong Zi Gong training,and the direct aesthetic effect of being able to continuously combine and combine postures was the highlighting of"embodied expressions".The Farewell My Concubine to the King edited by the"Mei Party"and the process of repeated deletions and modifications after the performance of the play by Mei Lanfang and Yang Xiaolou fully demonstrate that it is the embodied expression thinking that determines the generation of the text structure of traditional opera performances on the stage.The textual structure of performance on the stage,which exists in the form of interludes in Yuan Dynasty dramas,highlights the rules of simplicity,moderation,and adjustment of heat and cold in the stage where words are long and words are short.As a result,viewers gain an emotional aggregation aesthetic peak experience that is not the climax of the"highest line of action"plot.This non closed and open interlude structure also leaves an aesthetic space for viewers to witness the artist's ability to perform on the spot in anticipation,leaving an instant of applause and interrupted storyline.