“反形式主义斗争”背景下的戏剧革新——焦菊隐、梅耶荷德及其他  

Dramatic Reformation against the Background of “Anti-Formalism”: Jiao Juyin, Meyerhold and Others

作　　者：陈世雄[1] 

机构地区：[1]厦门大学人文学院

出　　处：《戏剧艺术》2017年第3期25-36,共12页Theatre Arts

摘　　要：焦菊隐和梅耶荷德都曾经在"反形式主义斗争"的背景下从事戏剧革新,但二者存在很大的差异。梅耶荷德早在1935年就敢于反潮流,指出中国戏曲是假定性艺术;而焦菊隐到1950年代还坚持说:"戏曲的创作方法,是现实主义的,戏曲是属于体验派的范畴的。"这是个明显的理论失误。假如说戏曲是现实主义的,那只能是广义的,是指它以某种方式反映了社会生活,并不是说戏曲的表演是体验派的。焦菊隐在理论上的失误使他从事的话剧民族化只获得了有限的成功。Both Jiao Juyin and Meyerhold are considered reformers in the field of ＂anti-formalism＂, but their reformations were starkly different. Meyerhold pointed out that Traditional Chinese Xiqu was a hypothetical art back in 1935, as opposed to the mainstream opinion of his time; Jiao Juyin, on the other hand, insisted that ＂the artistic method of Xiqu is realistic, and belongs to the art of experiencing＂. Obviously, Jiao was mistaken. Xiqu can be categorized as realistic only in the broader sense, with special reference to the reflection of social life in it. However, the acting in Xiqu is not the art of experiencing. The flaw in Jiao＇s theory led to the limited suceess in his attempt to indigenize modem Chinese drama.

关 键 词：焦菊隐 梅耶荷德 形式主义 现实主义 体验派 表现派 民族化 

分 类 号：J80[艺术—戏剧戏曲]