从梅兰芳对杨小楼的评价看戏曲表演美学体系问题  

On Aesthetics of Chinese Operas’ Performing from Mei Lanfang’s Comments

作　　者：邹元江[1] Zou Yuanjiang

机构地区：[1]武汉大学哲学学院

出　　处：《戏剧（中央戏剧学院学报）》2020年第3期62-75,共14页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金项目(项目编号:07BZX064)《梅兰芳表演美学体系研究》成果之一。

摘　　要：戏曲艺术的表演美学体系并不是某一个行当的个别演员的表演特性所能够涵盖的,它是由不同行当极其复杂化的程式表现的差异却具有"家族相似"性所生成的一种结构性、历时性的"谱系"。从梅兰芳对先后师从、合作的他最敬重的京昆表演艺术家的评价,可以看清梅兰芳心目中各主要行当的审美精神内核。不同行当的表演特性和共同的缘发根底性构成了我们认识中国京剧表演体系的审美维度。It’s impossible to define the aesthetic system of traditional operas’performing by one individual’s performances.Actually,it is a systematic diachronic genealogy generated from different stylization in presenting various roles and similarities of performing in a family-like troupe.Therefore,the comments made by Mei Lanfang on different Beijing Opera performing artists,whom he had learned from and cooperated with,have mirrored Mei’s opinions on the essence of performing aesthetics in traditional Chinese operas.Thus,the characteristics in performing different roles and the common origins of acting constitute the dimensions of understanding the aesthetic system of traditional Chinese operas.

关 键 词：梅兰芳 杨小楼 戏曲表演美学体系 

分 类 号：J82[艺术—戏剧戏曲]