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文艺理论研究

• “戏曲现代戏研究”专题 • 上一篇    下一篇

戏曲现代戏创作的理论误区与现实选择——兼谈张曼君“新歌舞剧”的历史定位

李伟   

  1. 上海戏剧学院
  • 出版日期:2019-05-25 发布日期:2019-06-28
  • 作者简介:李伟，南京大学文学博士，上海戏剧学院教授。主要从事戏剧理论与批评、20世纪中国戏剧研究。
  • 基金资助:
    本文系国家社科基金艺术学重大项目“戏曲现代戏创作研究”[项目编号：18ZD05]、国家社科基金艺术学一般项目“戏曲改革与十七年戏曲经典的生成研究”[项目编号：2015BB02775]阶段性成果。

The Theoretical Misconceptions and Realistic Choices of Modern Xiqu Creation: Additionally on the Historical Significance of Zhang Manjun's New Opera of Song and Dance

Li Wei   

  1. Shanghai Theatre Academy
  • Online:2019-05-25 Published:2019-06-28
  • About author:Li Wei, Ph. D., is a professor at Shanghai Theatre Academy. His areas of academic specialty include the theory and criticism of theatre and twentieth-century Chinese theatre.
  • Supported by:
    the Major Project of National Social Sciences Fund for Art (18ZD05) and the General Project of National Social Sciences Fund for Art (2015BB02775).

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摘要： 戏曲现代戏创作至少存在着三个方面的理论误区：一是把程式性作为中国戏曲的一大特征，进而认为，戏曲现代戏创作如果不实现程式化，就不是戏曲；二是把行当化视为戏曲的又一特征，进而认为，戏曲现代戏必须用行当塑造人物，否则就不是戏曲；三是把“戏曲化”作为创作的目标，把“戏曲化”作为评价现代戏成功与否的重要标准，然而对什么是“戏曲化”却语焉不详。但是这些理论误区并没有束缚戏曲现代戏创作的实践。以张曼君为代表的戏曲导演，在现代戏的创作实践中，创造了“新歌舞剧”现象。这实际上是回到了传统戏曲诗、歌、舞三位一体的以“乐”为本位的综合艺术形态上，从而突破了“程式化”“行当化”“戏曲化”的魔咒，探索出了戏曲现代戏创作与发展的新路。

关键词: 戏曲现代戏, 程式化, 行当化, 戏曲化, 乐, 新歌舞剧

Abstract: There are at least three theoretical misconceptions on the creation of modern xiqu: to consider conventionalization essential to xiqu, to consider typification of roles essential to xiqu, and to consider "xiquness," whose meaning is rather vague, as the creative goal and artistic criterion of xiqu. However, these misconceptions fail to hinder the practical development of modern xiqu creation. Directors like Zhang Manjun have created an innovative genre known as "new opera of song and dance." This maneuver, in fact, signifies a return to the comprehensiveness of traditional xiqu, which, centering on music, features a trinity of poetry, song, and dance. Through this effort, modern xiqu is able to disentangle itself from the contraint such as conventionalization, typification of roles, as well as "xiquness" and strike out a new path for future development.

Key words: modern xiqu, conventionalization, typification of roles, xiquness, music, new opera of song and dance