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朱理敦在《贵州剧作》1991年第3期刊载同题文章,针对戏曲评论界的几种观点作了分析,一种是主张戏曲的内容和形式“分离”的理论,作者认为如果硬要把戏曲艺术的内容和形式割裂开来,把那种单一指向的“形式”,用提纯的办法分离出来,这决不是情感的艺术形式。戏曲内容和形式“分离”的理论导向,往往给戏曲艺术的实践带来压力或惰性。第二种是主张创造“第三代戏曲”,即淡化戏曲艺术形式的“三化一性”(虚拟化、程式化、节奏化和舞台艺术的假定性),强化话剧式的写实成份。这一理论实质上是违背了戏曲艺术形式超脱生活自然形态的歌化舞化而享有充分舞台自由的美学原则,从最本质的内核中抽掉了虚拟、写意、传神的因素,使戏曲艺术还原为生活形态,这是艺术上的“自我倒退”,不是真正的戏曲艺术。作者认为,淡化写意性,强化写实性,导致“戏曲话剧化”的倾
Zhu Lih-tung published the same title article in Guizhou Drama Series No. 3 of 1991, analyzed several opinions of the traditional opera critics. One is the theory that advocates the content and the form of “separation” of the opera, and the author thinks that if we insist Separating the content and form of the art of opera and separating the singular “form” from the pure method is by no means the art form of emotion. The theoretical orientation of the “separation” of the opera’s content and form often brings pressure or inertia to the practice of opera art. The second one is to advocate the creation of “the third generation of opera”, that is, to “play down the three kinds of oneness” (the assumption of virtualization, stylization, rhythm and stage art) in the art form of drama and to reinforce the realistic element of drama style. This theory essentially runs counter to the aesthetic principle that opera art forms transcend the naturalized form of life and enjoy the full freedom of the stage. It takes away the factors of fictionalism, freehand expression and vividness from the most essential core so as to restore the art of opera For the life style, this is the art of “self-regression”, not a real art of opera. The author believes that the desalination of freehand writing, to strengthen the realism, leading to “opera drama” tilt