“活死人”、“呆木头”之妙——论扬州评话营造“心理场”的艺术  

The subtlety of "living dead" and "woodenhead": the network of interior monologues in Yangzhou storytelling

作　　者：董国炎[1] 

机构地区：[1]扬州大学文学院,江苏扬州225002

出　　处：《东南大学学报（哲学社会科学版）》2011年第3期83-87,127-128,共5页Journal of Southeast University(Philosophy and Social Science)

基　　金：国家社科基金项目"平民文学两次兴起--评话小说研究"(05BZW035)成果之一

摘　　要：扬州评话等说书艺术在心理描写方面有很高的艺术成就,特定场合下不同人物的心理活动互相关联冲突形成"心理场",人物心理活动与其他人物的言行紧密关联,并与自己的语言动作紧密配合,富于即时性和特殊动态,形成对人物的生动立体刻画,展现出一种"不动之动"、"无声之声"的生活况味和艺术韵味。我们因而更了解各种人物的思想和性格特点。这种"心理场"艺术使人们对耳熟能详的传统故事产生崭新艺术感受。评话艺人这种生动活泼的"心理场"艺术,与相对静止且冗长的心理描写构成鲜明对比,在中西文艺对比的层面上值得进一步探讨。The wonderful interior monologues of Yangzhou storytelling raise it to the level of high art.The interior monologues of various fictional characters are woven together to be a network in which the interior monologue of a particular character goes with the speech and movements of himself and other characters,thus inspiring the active and vivid imagination of the audience.This unique technique brings out the full flavor of Yangzhou storytelling of 'movement of motionlessness' and 'sound of silence',which helps the audience appreciate the fictional characters better.This art form also enables the audience to gain new aesthetic experience in publically known old stories.In contrast to the lengthy interior monologues in writing,the interior monologue network employed by the storytelling artists is lively and hence worthy of further research from the perspective of contrastive arts.

关 键 词：心理场 立体性 关联性 即时性 

分 类 号：J826[艺术—戏剧戏曲]