论“戏曲完美不可改变说”及学术性问题  

On “Immutable Flawlessness of Chinese Opera” and Issue of Academic Nature

作　　者：陆炜[1] 

机构地区：[1]南京大学文学院,南京210093

出　　处：《文化艺术研究》2013年第3期105-115,共11页Studies in Culture and Art

摘　　要：洪忠煌先生近期的文章《"回归本体"与"杂交重塑"的双轨策略——中国戏曲艺术走向漫议》认为,戏曲就是"旧瓶旧酒"的传统戏曲,它是完美的,戏曲改革既无必要也不可能,那些想搞新戏曲的人,无论怎么搞,别叫"戏曲"就行。这可以叫作"戏曲完美不可改变说"。实际上,回顾中国戏曲各个阶段,皆有重大缺陷,戏曲从来没有完美过。新戏曲的创造根本上来说是中国戏曲如何在现代社会生存发展的问题。狭义的"戏曲改革"运动则是一个需要具体研究的历史事物。对这一切的思考需要讲求学术性。In a recently published paper ＂The Future Trend of Chinese Theatrical Performance＂, the au- thor Mr. Hang Zhonghuang argues that Chinese opera is the unchanged traditional opera, which is flaw- less, and therefore the reform of opera is unnecessary and impossible. It advocates the ＂immutable flaw- lessness of Chinese opera＂. In fact, reviewing the various phases in the development of Chinese opera, we can find great defects due to which it is never flawless. The creation of new opera is in nature an issue of how Chinese opera survives and develops in the modem society, while the ＂theater reform＂ movement in a narrow sense is a historical object in need of specific research. Reflections upon all these issues re- quire academic research, so that arbitrary and emotional expressions can be avoided.

关 键 词：戏曲 完美性 戏曲改革 学术性 

分 类 号：J802[艺术—戏剧戏曲]