中西戏剧的双向确认——程砚秋访欧与“国剧运动”的“写意”戏剧观  

Mutual Confirmation of Chinese and Western Theatre:Cheng Yanqiu's European Visit and the Suggessttiivvee TThheatre Concept of the National Theatre Movement

作　　者：郭超 GUO Chao

机构地区：[1]中山大学中国语言文学系(珠海)

出　　处：《戏剧艺术》2024年第4期160-170,共11页Theatre Arts

基　　金：全国艺术科学规划项目“20世纪以来的戏曲跨文化传播与现代中国的文化认同研究”(21CB171)的阶段性成果。

摘　　要：1932年,程砚秋奉“中华戏曲音乐院”之命旅欧以考察欧洲戏剧,为中西戏剧的沟通交流带来了跨文化的双向视野。除了取法欧洲以改良戏曲,他还借助欧洲戏剧家的观念确认了自己的“写意”戏剧观。从他对戈登·克雷、莱因哈特的赞赏以及和王泊生的交游而观,程砚秋的“写意”戏剧观实际上受到“国剧运动”的深刻影响。抵达欧洲之后,他的观念又因杜林、赖鲁雅、莱因哈特的揄扬而得以确认。另外,程砚秋对灯光的使用也受到了“国剧派”尤其是余上沅的直接影响,他的《春闺梦》以光线的明暗、冷暖及其变换烘托舞台气氛、人物心情。欧洲之旅作为一次“双向互动”,对程砚秋戏剧观的建构及其确认至关重要,同样也呈现了“国剧运动”对戏曲美学的突出意义。In 1932,Cheng Yanqiu traveled to Europe on behalf of the Chinese Xiqu Music Academy to study European theatre,bringing an intercultural dual perspective to the communication between Chinese and Western theatre.Besides adopting European methods to improve Chinese Xiqu,he also used the ideas of European theatre practitioners to affirm his own suggestive theatre concept.Cheng Yanqiu's appreciation for Edward Gordon Craig and Max Reinhardt,as well as his interactions with Wang Bosheng,shows his suggestive theatre concept was deeply influenced by the National Theatre Movement.After arriving in Europe,his ideas were further confirmed by the praise from Charles Dullin,Louis Laloy,and Reinhardt.Additionally,Cheng Yanqiu's use of lighting was directly influenced by the National Theatre Movement proponents,especially Yu Shangyuan.His play Spring Boudoir Dream used the brightness and darkness,warmth and coldness of light and their changes to set off the stage atmosphere and the characters'moods.Cheng Yanqiu's European visit,as a mutual interaction,was crucial in constructing and confirming his theatre views and also highlighted the significant influence of the National Theatre Movement on Chinese Xiqu aesthetics.

关 键 词：程砚秋 访欧 写意 国剧运动 舞台灯光 

分 类 号：J80[艺术—戏剧戏曲]