从《品梅记》看梅兰芳在日本接受的限度  

The Limits of Japanese Acceptance for Mei Lanfang from the Collections of Reviews on Mei Lanfang's Drama

作　　者：邹元江[1] ZOU Yuan-jiang(School of Philosophy, Wuhan University, Hubei Province ,430071)

机构地区：[1]武汉大学哲学学院,湖北武汉430071

出　　处：《艺术百家》2019年第1期86-91,共6页Hundred Schools In Arts

基　　金：2007年度国家社科基金项目"梅兰芳表演美学体系研究"(项目编号:07BZX064)阶段性成果之一

摘　　要：《品梅记》里的文章水准参差不齐,有信口开河的,也有匪夷所思的,有顾左右而言他的,也有泛泛溢美的,更有敷衍塞责的。虽然也有几篇文章以日本戏剧作为参照,对于不熟悉的中国戏曲加以理性同情的分析,得出了诸多对于深入理解中日戏剧、东西方戏剧差异性有启发意义的真知灼见,尤其是对梅兰芳关于中国戏曲缺乏表情、缺乏布景、要改良舞台和服装的看法加以质疑批评,都可见出日本学界对中国戏曲审美精神的深刻理解。但从总体上看,梅兰芳所代表的中国戏曲艺术最初在日本的接受,即便是在有很高水平的日本精英层面也是有限度的,更遑论在日本民间的受容若何。The quality of articles in Collections of Reviews on Mei Lanfang s Drama varies from one to another. Some articles are written at random without grounds. Some are totally beyond of understanding. Some articles discuss things unrelated to the topic. Some authors are lavish in their praise of Mei s drama while some authors are perfunctory in their articles. Some analysis about unfamiliar Chinese drama, which take Japanese dramas as reference , are given in a rational manner and manyprofound and inspiring insightswhich are conducive to understanding the differences between Chinese and Japanese drama or between western and oriental drama, are presented in such articles. The profound understanding of Japanese scholars on aesthetic taste of Chinese dramascan be shown from such insights, especially doubts and questions about the views of Mei Lanfang that Chinese dramas lack expressions and sets and that stages and costumes need improving. However, generally speaking, the acceptance for Chinese drama represented by Mei Lanfang is limited , even among Japanese elites, let alone among the public.

关 键 词：《品梅记》 梅兰芳 中国戏曲 日本 接受限度 

分 类 号：J80[艺术—戏剧戏曲]