走上戏台(楼)与走进城镇——戏曲生成的世俗化路径探悉  

Stepping on the Stage and Heading to the Cities —An Analysis of the Secularized Generation of the Chinese Opera

作　　者：陈友峰[1] 

机构地区：[1]中国戏曲学院戏曲研究所,北京10073

出　　处：《文化艺术研究》2013年第2期45-56,共12页Studies in Culture and Art

基　　金："中国博士后科学基金特别资助项目"(项目编号:204003248);"中国博士后科学基金一等资助项目"(项目编号:20090450070);"北京市优秀人才培养基金(D类)资助项目"(项目编号:2009D005011000001)"中国戏曲成因与历史走向的人类学阐释"的阶段性成果

摘　　要：戏曲艺术走上戏台(楼)与走进城镇是戏曲生成的世俗化路径的历史必然。戏台(楼)的出现不仅改变了戏曲艺术的演出场地和环境,还促使戏曲艺术的时空观念和观、演的关系发生转变,使现实存在的物理时空与观念化的艺术时空区别开来,并使观赏主体的欣赏方式和审美接受方式发生了巨大变革。戏曲艺术走进城镇,使其获得较好的演出环境和生存环境;各班社彼此借鉴、相互竞胜,客观上促进了戏曲艺术演出质量的提高和审美品位的提升。然而,戏曲艺术的城镇化过程也是其逐渐脱离其乡村艺术"身份"而日益"雅化"的过程,其最终结果必然是失去大量观众群体而逐渐走向无法挽回的颓势。＂Stepping on the stage＂ and ＂heading to the cities＂ of the Chinese opera are inevitable during its secularized creation. The appearance of ＂theatrical stages＂ not only changes performing places and surroundings of the opera but also urges changes in ideas of time and space as well as the relationship be- tween the audience and actors. It makes a distinction between the actual physical space-time and the per- ceived one of art, transfomaing the way of appreciation and acceptances in a huge way. By heading to the cities, the opera gets a better environment of performances and existence; while different teams learn from each other and compete to win, shows are improved and aesthetic standards promoted. However, in ur-banization the opera gradually breaks away from its ＂identity＂ as a rural form of art and turns into a ＂re- fined＂ kind, as a result of which it loses a large number of audience and heads down a path of irretriev- able decadence.

关 键 词：戏曲艺术 戏台(楼) 戏曲生成的世俗化路径 瓦舍勾栏 

分 类 号：J802[艺术—戏剧戏曲]