戏曲舞台艺术写实传统发覆——从孔尚任《桃花扇》的舞美构思谈起

The Realistic Tradition in Xiqu's Stage Art:Insights from Kong Shangren's Peach Blossom Fan

今人对孔尚任《桃花扇》的赞许多集中在文学层面,对其舞美则不以为然。事实上,孔尚任在舞美设计上独具匠心,写实风格舞美是其整体艺术构思的有机部分,乃有意之追求。孔尚任所用舟、车等大型写实风格道具在戏曲史上表演形式多样,一直盛行于元明清戏曲舞台,虚拟性表演程式的产生并未影响其地位。孔尚任所用写实风格布景在戏曲史上至晚成熟于明末,在清代宫廷、文人和民间的演剧中均广泛应用,借助机关、灯彩等手段蔚为繁胜。写实风格舞美和表演,与写意、虚拟风格一样,自成一种传统,冯梦龙、彭天锡、阮大铖、李渔、洪升、孔尚任等戏曲史上的重要人物,均擅长利用或予以推崇。古人本不执着于虚拟表演,也毫不排斥实物装置,今人对孔尚任的批评乃出于写意、虚拟等非写实理论。非写实理论的建构并非基于戏曲全部的艺术经验,压抑和遮蔽了戏曲写实传统,干扰了相关的学术研究,加剧了戏曲精神内涵的空洞及与市场、观众和当代精神的疏离。

Much of the contemporary praise for Kong Shangren's Peach Blossom Fan focuses on the literary merits,but the stage art remains understudied.Kong Shangren's meticulous approach to stagecraft,particularly his adoption of a realistic style,forms an intentional and integral part of his artistic vision.His use of large,realistic props such as boats and carts has a longstanding tradition in xiqu,persisting through the Yuan,Ming,and Qing dynasties,unaffected by the advent of virtual performance styles.The realistic scenery,which reached its zenith at the end of the Ming dynasty,was extensively utilized in performances at the Qing court,by literati,and in folk theatre.The realistic style of stage art and performance,like the unrealistic virtual style,has its own tradition.Historically,there was no strict adherence to non-realistic performance nor a rejection of physical stage elements.Criticism of Kong Shangren today stems from a preference for non-realistic art theories.Such theories,not fully representative of xiqu's diverse artistic experiences,tend to marginalize the realistic tradition in xiqu,obstructing academic inquiry,exacerbating the genre's loss of spiritual depth,and widening its gap from modern audiences and the market.