“养成新人材”:民国戏曲演员的文化教育与学术训练  

“New Actor Cultivation”: Cultural Education and Academic Training of Opera Students in the Period of the Republic of China

作　　者：简贵灯[1] JIAN Gui-deng(College of Chinese Language and Literature,Fujian Normal University,Fuzhou 310053,China)

机构地区：[1]福建师范大学文学院,福建福州310053

出　　处：《美育学刊》2022年第5期91-99,共9页Journal of Aesthetic Education

基　　金：国家社会科学基金艺术学一般项目“清末民国京剧批评的观念与形态研究”(16BB029)的阶段性成果。

摘　　要：进入民国之后,无论是新型戏曲教育机构,还是传统的科班,均将文化教育纳入戏曲演员的培养之中,培养有知识的演员成为戏曲教育者的共识。20世纪30年代,附属于研究机构的中华戏曲专科学校、国剧传习所的出现,突破了戏曲教育的办学体制,将学术研究引入戏曲教育中。通过将学术要求引入课堂标准,开设“专家大课”“特种讲演”及训练学术习作等方法来培养演员的学术素养。技艺之外,将文化、学术引入到戏曲演员培养之中,这种培养模式基本奠定了现代戏曲教育的样貌。Whether it is a new type of opera education school or a traditional opera actor training institution, cultural education is included in the training of opera students, and it has become the consensus of opera educators in the Republic of China. In the 1930 s, the Chinese Opera Academy and the Traditional Chinese Opera School, which were affiliated to research institutions, broke through the school system of opera education and introduced academic research into opera education. Through the introduction of academic requirements into classroom standards, “expert lectures”, “special lectures” and the training of academic assignments were implemented to cultivate the academic qualities of actors. Apart from skills, culture and academic learning were also introduced into the training of opera students. As a matter of fact, this training model has laid the foundation for modern opera education.

关 键 词：戏曲教育 演员培养 文化教育 学术训练 

分 类 号：J82-4[艺术—戏剧戏曲]