论戏曲中场面的功能——兼及王国维“歌舞演故事”的戏曲定义校正  

The Function of Changmian in Chinese Opera--With Wang Guowei's Definition of Chinese Opera as"Storytelling Through Songs and Dance"Revised and Dance"Revised

作　　者：傅谨 Fu Jin

机构地区：[1]中央戏剧学院

出　　处：《戏剧（中央戏剧学院学报）》2023年第4期1-21,共21页Drama:The Journal of the Central Academy of Drama

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

摘　　要：从戏曲乐队的重要性及演出由演员乐队共同完成的角度看,“乐舞叙事”比王国维的“以歌舞演故事”更完整准确。戏曲乐舞叙事的特点源于先秦诗乐舞三位一体的传统,从戏曲成熟以来,就形成了演员与乐队相互配合共生的特点,这是戏曲表演与西方戏剧最重要的差异之一。戏曲乐队俗称“场面”,又分为文场(管弦乐器)和武场(打击乐器),它们在戏曲表演和欣赏中均有重要地位与作用。场面在戏曲表演中不只是“伴奏”,它就是表演主体的关键性元素之一,鼓板更是全剧节律的统领。这一认识,超越了脱胎于西方戏剧理论的戏曲表演理论体系的盲区,既植根于具有民族特色的戏曲历史与实践,也是建构中国化的戏剧表演美学体系的重要环节。From the perspective of performance,"narratives with music and dance"is a more complete and accurate definition of Chinese opera than Wang Guowei's"storytelling through songs and dance".The narratives with music and dance originated from the pre-Qin art tradition with the trinity of poetry,music and dance.The maturity of Chinese opera is marked by symbiotic relationship formed between the actors and the orchestra,which is also one of the most important differences between Chinese opera performances and Western theater.The orchestra of Chinese opera is commonly known as Changmian,which is divided into wenchang(string and wind instruments)and wuchang(percussion instruments),both important in the performance and appreciation of Chinese opera.Changmian is one of the key elements of the main body of the performance,rather than the accompaniment.Understanding the function of Changmian transcends the blind spot of the theoretical system of Chinese opera performance,which was born out of Western drama theory.The consensus is rooted in the history and practice of Chinese opera with ethnic characteristics,and becomes an important step in constructing a localized aesthetic system of theatrical performance.

关 键 词：戏曲音乐 场面 文场 武场 

分 类 号：J82[艺术—戏剧戏曲]