文明“互鉴”与概念“置换”——以戏曲表演美学为中心的考察  

"Mutual Learning" between Civilizations and Conceptual"Replacement"An Investigation Centered on the Aesthetics of Opera Performance

作　　者：邹元江[1] Zou Yuanjiang

机构地区：[1]武汉大学哲学学院,武汉430072

出　　处：《中国社会科学》2024年第1期86-105,206,共21页Social Sciences in China

摘　　要：跨文化研究主要包含文明“互鉴”和概念“置换”两种模式。在中西戏剧跨文化研究交流中,文明“互鉴”常常被忽略或扭曲,而概念“置换”却习焉不察地成为主要的思维方式。令人深思的是,百余年来,中国传统戏曲的表演美学一直受到西方话剧思维和斯坦尼斯拉夫斯基心理体验导表演体系困扰。近四十年来,以“情节整一性”为核心概念的“现代戏曲”又对传统戏曲艺术的审美概念加以隐性“置换”,由此造成了传统戏曲模式在场上表演的文本结构、姿势化的具身表情、观赏者意象性接受等三个方面的改变,并带来了戏曲审美趣味的偏离。探寻当代戏曲艺术创作文明互鉴的各种可能性成为戏曲学界、演艺界的当务之急。Cross-cultural research tends to include two modes:"mutual learning"between civilizations and conceptual"replacement."In cross-cultural research and exchange between Chinese and Western theatre,"mutual learning"between civilizations is often neglected or distorted as conceptual"replacement"becomes the main way of thinking.We need to ponder the fact that for more than a hundred years,the performance aesthetic of traditional Chinese opera has been unsettled by Western thinking on drama and Stanislavski's psychological experience-guided system of performance.In the past forty years,"modern opera"with the core concept of"plot integrity"has implicitly"replaced"the aesthetic concepts of traditional Chinese operatic art.As a result,the traditional opera mode has changed in three respects:the textual structure of the performance,the expression of feelings through gesture and the audience's reception of images,and they have diverted the aesthetic taste of Chinese operas.Operatic scholars and performers urgently need to explore the possibilities of mutual learning between civilizations in the creation of contemporary operatic art.

关 键 词：戏曲表演美学 文明“互鉴” 概念“置换” 现代戏曲 情节整一性 

分 类 号：J89[艺术—戏剧戏曲]