从《节妇吟》的修改到《陈仲子》的复排——王仁杰戏剧观念再思考  

From the Revision of Virtuous Yin to the Restage of CHEN Zhongzi:Reflections on WANG Renjie's Drama Philosophy

作　　者：林清华[1] LIN Qinghua

机构地区：[1]福建师范大学文学院

出　　处：《戏剧艺术》2020年第1期22-29,共8页Theatre Arts

摘　　要："返本开新"是王仁杰戏剧观念的核心,但在返本与开新之间存在一条难以逾越的裂缝,王仁杰的剧作是其弥合裂缝的努力与实践。学界多认为王仁杰的作品存在鲜明的"复古"倾向,但通过考察《节妇吟》的文本修改、《董生与李氏》的多元解读与《陈仲子》的不同际遇,可以发现,处在古典与现代夹缝之间的王仁杰,其戏剧观念在困惑与纠结的过程中,其实经历了几次有意味的后撤,而正是这些有意味的后撤,成就了他的剧作在中国当代戏曲界独一无二的个性与多元化的理论价值。Though“to refer to the classics and to create something new”is at the core of WANG Renjie's drama philosophy,there is an unbridgeable gap between the two,and his plays show his efforts and attempts to bridge the gap.It is generally believed that WANG's works have a distinct tendency towards idolizing the ancient.However,by examining the revision of Virtuous Yin,the multilayered interpretations of Dongsheng and Lishi and the ups and downs of CHEN Zhongzi,this paper argues that there are several intriguing retreats which have conferred unique character and diversified theoretical values upon his works in the crevice between the classic and the modern in contemporary Chinese Xiqu.

关 键 词：古典 现代 夹缝 后撤 

分 类 号：J80[艺术—戏剧戏曲]