跨媒介视域下的情感流动与意象生成——重审焦菊隐的诗意戏剧美学观  

Emotion Flows and Image Generation Under Cross-media Perspective-A Review on Jiao Juyin's Poetic Drama Aesthetic View

作　　者：郭羽思 GUO Yusi(National Library of China,Beijing 100081,China)

机构地区：[1]中国国家图书馆,北京100081

出　　处：《美育学刊》2024年第4期55-63,共9页Journal of Aesthetic Education

摘　　要：焦菊隐的诗意戏剧观,意谓导演在舞台上描绘出蕴含深厚情感的戏剧形象,本质上是一种由浪漫主义通向象征主义的美学观念。我们可将“诗意”视为焦菊隐一以贯之的美学理念,而将“戏剧”视为实现这一理念的艺术手段。焦菊隐在青年时代创作象征主义诗歌,未能为诗情寻得典型意象;“戏校时期”逐渐形成跨媒介的戏剧观;“心象”概念的提出,揭示了象征主义诗学、契诃夫剧作与斯氏体系原理的内在契合;“话剧民族化”的形式实验,继续秉持横跨不同媒介为戏剧人物情感寻求意象表现的创作思维。焦菊隐的诗意戏剧美学观,使他毕生渴望为情感流动捕捉具体意象。Jiao Juyin's poetic view of drama holds that the director depicts dramatic images full of emotion on stage,which is an aesthetic concept that transitions from romanticism to symbolism.We can regard poetic presentation as Jiao's consistent aesthetic idea and thus drama is an artistic means to achieve it.Jiao Juyin wrote symbolic poems in his early years;however,he failed to find typical images for his emotion.Later,he gradually formed the cross-media drama view.In 1940s,he proposed“mental image”to show the consistency among symbolic poetry,Chekhov's plays and Stanislavski system.In the“Nationalization of Drama”in 1950s,Jiao Juyin continued to seek imagist expressions for characters emotion.In fact,Jiao Juyin's romantic and symbolic drama aesthetic view pushed him to catch images for emotion flows.

关 键 词：焦菊隐 诗意戏剧 美学观 情感 意象 媒介 

分 类 号：J82[艺术—戏剧戏曲]