戏曲现代戏的三个理论问题  

Three Theoretical Issues About Modern-subject Drama

作　　者：傅谨 Fu Jin

机构地区：[1]中央戏剧学院中国戏剧学研究中心,北京102209 [2]中国戏曲学院戏曲研究所,北京102209

出　　处：《学术研究》2021年第3期144-152,F0002,178,共11页Academic Research

基　　金：国家社科基金艺术学重大项目“中国戏曲表演美学体系研究”(17ZD01)的阶段性成果。

摘　　要：关于戏曲现代戏创作的理论与实践得失,“分工论”“话剧加唱”“程式与程式化”是相关讨论中最复杂的三个理论问题。在戏曲现代戏创作领域建议京剧等古老剧种和新兴剧种有所分工的“分工论”,实际上是为了避免戏曲的工具化而提出的,却低估了京剧等成熟剧种的题材适应性。对现代戏成为“话剧加唱”的批评,代表了要求戏曲坚守本体的理念。认为戏曲的程式不能很好地表现现实生活及英雄模范人物的观点,混淆了戏曲具体程式和程式化原则之间的区别。在现代戏创作表演中,所有传统程式都可以舍弃,但如果背离了程式化原则,就离开了戏曲本体,因此应该是“不要程式,要程式化”。In the discussion about the theory and practice of modern-subject drama creation,the three most complicated theoretical issues are the“separation of roles theory”“drama with aria”and“convention and conventionalization”.First,the“separation of roles theory”emphasizes the division of labor between traditional opera genres such as Peking opera and emerging opera genres to avoid instrumentalization of opera,while underestimating the theme adaptability of these mature opera genres.Second,modern-subject drama is accused of being transformed into a form of“drama with aria”,which represents the idea of requiring the opera to stick to its essence.Third,some critics believe that conventionalization fails to vividly represent real life and heroic characters,which confuses the difference between the convention and conventionalization.All traditional convention in the creation and performance of modern-subject drama can be discarded,but if the creation deviates from the conventionalization,it will be far from the essence of opera.In this case,the creation of modern-subject drama should avoid the s convention,but should emphasize the conventionalization.

关 键 词：戏曲现代戏 分工论 话剧加唱 程式 程式化 

分 类 号：J802[艺术—戏剧戏曲]