论白先勇的“昆曲新美学”

文艺理论研究 ›› 2017, Vol. 37 ›› Issue (3): 37-43.

论白先勇的“昆曲新美学”

丁盛

上海戏剧学院艺术研究所

出版日期:2017-05-25 发布日期:2018-01-24
作者简介:丁盛，艺术学博士，助理研究员，上海戏剧学院艺术研究所，主要从事戏剧史论研究。
基金资助:
本文系上海市高峰高原学科建设计划[项目编号：SH1510GFXK]成果之一。

Bai Xianyong's New Aesthetics of Kunqu Opera

Ding Sheng

the Art Research Institute, Shanghai Theatre Academy (Shanghai 200040, China)

Online:2017-05-25 Published:2018-01-24
About author:Ding Sheng, Ph.D., is an assistant research fellow at the Art Research Institute, Shanghai Theatre Academy (Shanghai 200040, China). His research interests cover the history and theory of theatre.

摘要/Abstract

摘要： 白先勇在青春版《牡丹亭》与新版《玉簪记》的创作实践中提出了“昆曲新美学”的概念，其目标是“让昆曲的古典美学与现代剧场接轨”，核心是“古典为体，现代为用”。 “昆曲新美学”主导下的几部作品，体现了很高的制作水准，获得官方与学界盛赞的同时，也引发了戏迷的质疑。本文从白先勇“昆曲新美学”的理论内涵与创作实践着手，结合多方观点分析后认为，“昆曲新美学”是一种创作观念，而不是新的昆曲美学，如果要提到美学的高度来认识它，可以视为一种舞台美学，不仅适用于昆曲，也适用于其他戏曲剧种。

关键词: 白先勇; , 昆曲新美学; , 青春版《牡丹亭》; , 新版《玉簪记》

Abstract: Bai Xianyong proposed the concept of New Aesthetics of Kunqu Opera after the youth version of The Peony Pavilion and the new version of The Story of Jade Hairpin. The goal of the New Aesthetics of Kunqu is to integrate the classical aesthetics of Kunqu and modern theatrical aesthetics, and the integration is characterized by the centrality of classicality aided by modernity. The works which come as a result of the New Aesthetics of Kunqu Opera have received praises scholars and some criticism from senior fans at the same time. This paper expounds on Bai Xianyong's theory and practice, and analyses the different viewpoints involved, and argues that his New Aesthetics of Kunqu Opera is a concept of writing, not simply new Kunqu aesthetics, which can be regarded as a kind of stage aesthetics, and therefore applies to Kunqu Opera and other operas as well.

Key words: Bai Xianyong, new aesthetics of Kunqu Opera, Youth Version of The Peony Pavilion, New Version of The Story of Jade Hairpin

丁盛. 论白先勇的“昆曲新美学”[J]. 文艺理论研究, 2017, 37(3): 37-43.

Ding Sheng. Bai Xianyong's New Aesthetics of Kunqu Opera[J]. Theoretical Studies in Literature and Art, 2017, 37(3): 37-43.

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(1)关于青春版《牡丹亭》的音乐创作,参见周友良:《青春版〈牡丹亭〉音乐写作构想》,载朱栋霖主编《苏州文艺评论·2008》(南京:江苏教育出版社,2008年),或见豆瓣〈https://www.douban.com/note/266279943/〉。
(2)关于昆曲(剧)传统的论述,参见笔者拙文:《昆剧传统略论》,《上海戏剧》2016年第1期。