他者、本己与现代性转化:从《董生与李氏》舞台呈现的三次改易看曾静萍戏曲观的转变  

The Other,Original-Self and Modernity Transformation:Three Different Stage Presentations of Scholar Dong and Mrs.Li and the Transformation of Zeng Jingping's View of Opera

作　　者：王艺珍 Wang Yizhen

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）》2023年第4期59-77,共19页Drama:The Journal of the Central Academy of Drama

基　　金：2019年度国家社会科学基金艺术学重大项目“中国戏曲剧种艺术体系现状与发展研究”(项目编号:19DZD03);2020年度福建省社会科学规划项目“文明交流互鉴背景下梨园戏的传承与传播研究”(项目编号:FJ2020B137)的阶段性成果。

摘　　要：梨园戏新编历史剧《董生与李氏》典范性的确立离不开演员的精心打磨。曾静萍对“李氏”一角表现手法的选择经历了以新为尚——复归传统——整旧如新三个阶段的变化。透过这三个阶段的转变,可以发现曾静萍的戏曲观具有明显的后撤倾向,也即由借镜“他者”艺术到复归戏曲本体,注重对梨园戏本己的审美表现力的开掘。作为当代戏曲表演美学的探索者与建构者,曾静萍在古典与现代之间的游移与觉解,在一定程度上反映了当代戏曲表演形态的复杂性,同时也指向一种可能性,即当代戏曲表演美学的建构,需要重新审视体验中心论的影响,并将之还原到具身表达的特殊表演逻辑中,重思传统戏曲美学的独特性与现代性转化的可行性。The success of Liyuan Opera Scholar Dong and Mrs.Li would not have been possible without the contributions of actors like Zeng Jingping.Her portrayal of Mrs.Li has undergone gradual yet constant changes,indicating a clear trajectory.She has moved from following the latest trends to embracing tradition,thereby reshaping the resources of opera performance and experimenting with new forms of expression.As an explorer and creator of contemporary opera performance aesthetics,Zeng's oscillation between the ancient and the modern not only reflects the intricacies of contemporary opera performance but also presents a new potential for constructing the aesthetics of contemporary Chinese opera.This potential lies in reevaluating the negative impact of experience-centered theories,returning to the specific performance logic of embodiment,and reconsidering the value of traditional drama aesthetics and the possibilities of modern transformation.

关 键 词：曾静萍 具身性 现代性转化 

分 类 号：J82[艺术—戏剧戏曲]