新世纪以来“水浒戏”创作的三种面向  

Three Aspects of the Creation of"Water Margin Drama"Since the New Century

作　　者：焦欣波 JIAO Xin-bo(College of Arts,Northwest University,Xi’an,Shanxi 720127)

机构地区：[1]西北大学文学院,陕西西安720127

出　　处：《艺术百家》2021年第5期106-113,共8页Hundred Schools In Arts

基　　金：2018年度国家社科基金一般项目“20世纪中国‘水浒戏’剧本研究”(项目编号:18BZW156)阶段性成果之一。

摘　　要：新世纪以来“水浒戏”方兴未艾,其创作及改编不仅承继了既往的主题形象以及艺术形态,而且大有“开拓”意义,并呈现出三种新面向:一是剧作家借历史之壳超然于历史之外,极力挖掘水浒人物的内在秉性、精神世界与病态人格,透过人的欲望及其身体叙事表现出深度的人文关怀;二是在商业气氛的催生下,梁山英雄在被“降格”、荒诞化的同时,又实现了“本色”重置,忠与义等传统文化命题再次进入观众的审美期待;三是“水浒戏”的空间叙事或叙事空间得到极大拓展,视听策略的运用使得舞台艺术的表现力与创造力骤然提升。The"Water Margin Drama"has been in the ascendant since the new century.Its creation and adaptation not only inherit the previous themes,images and artistic forms,but also have a"exploiting"significance and present three aspects:First,the playwright borrows from the shell of history Beyond history,he tried his best to explore the inner disposition,spiritual world and pathological personality of the characters of the Water Margin,expressing his deep humanistic care through human desire and physical narrative;second,under the commercial atmosphere,the heroes of Liangshan are"degrading",The absurdity also realized the reset of the"true colors",and the traditional cultural propositions such as loyalty and justice once again entered the audience's aesthetic expectations;third,the spatial narrative or narrative space of"Water Margin Drama"was greatly expanded,and the use of audiovisual strategies made the stage The expressiveness and creativity of art are greatly enhanced.

关 键 词：戏曲艺术 水浒戏 病相 忠与义 空间叙事 视听策略 

分 类 号：J80[艺术—戏剧戏曲]