论虚实相生与戏曲时空的超越性

On the Interplay of Void and Concreteness,and the Transcendence of Time and Space in Traditional Chinese Opera

本文着重探讨虚实相生法与戏曲时空所包含的审美特质之间的关系,围绕虚实相生法对戏曲艺术的影响,从戏曲时空的多元构成、超越机制,以及时空视角、时空模式等方面,阐释戏曲时空所呈现出的审美意蕴。其中,关于戏曲的多元时空——实形的舞台表演时空、虚拟的叙事时空、空灵的审美意象时空三重时空的叠印与交叉,以戏曲表演为支点,以虚实相生为法门而实现的两次时空超越,戏曲艺术“以‘心’观时空”“以‘道’观时空”的时空视角,戏曲时间推转空间的时空模式等问题,对戏曲艺术的审美意象等美学问题做了比较深入的研究。

This article explores into the relationship between the interplay of void and concreteness and the aesthetic characteristics contained in the time and space of traditional Chinese opera.On the basis of the influence of the interplay of void and concreteness on the art of traditional Chinese opera,this article elaborates on the aesthetic implications presented by the time and space of traditional Chinese opera from the perspectives of the diverse composition of the time and space,its transcendence mechanisms,as well as the temporal and spatial angles and patterns.Among them,an indepth research has been conducted on aesthetic issues such as the overlapping and intersection of the three layers of time and space in traditional Chinese opera,namely,the concrete time and space of stage performance,the virtual narrative time and space,and the time and space of the ethereal aesthetic image.This includes two temporal and spatial transcendence achieved through the use of traditional Chinese opera performance as the fulcrum and the interplay of void and concreteness as the method.Additionally,there are issues related to the temporal and spatial perspectives of traditional Chinese opera art,such as viewing time and space through the"mind"and"Tao",as well as the temporal and spatial patterns in which the traditional Chinese opera time pushes the space.