吴小如述学文体与京剧批评理论的建构——以“传”为考勘  

WU Xiaorus Construction of Narrative Style and Critical Theory of Peking Opera Viewed from the Perspective of"Transmission"

作　　者：姜岩 JIANG Yan(Department of Chinese Language and Literature,Peking University,Beijing 100871,China)

机构地区：[1]北京大学中文系,北京100871

出　　处：《贵州大学学报（艺术版）》2024年第5期20-29,共10页Journal of Guizhou University Art Edition

摘　　要：吴小如是京剧票友、评剧人士,又是文化学者、大学教师,在其半个多世纪的戏曲活动中,一个突出成就是自觉开展广泛而独到的京剧批评,建构以“传”为中心的理论谱系,具体包括批判“不传”、勉励“传人”、号召“真传”三个维度,由此打开了“传”所蕴含的丰富的张力空间。据此,他还创造了若干戏曲研究的新术语,使“旧剧”跳出新旧分立的二元逻辑,转而向内开拓“传”之路径,而剧评、伶评等文章“小道”也成为吴氏最具代表性的“述学文体”。吴小如的京剧批评及其理论化,折射出20世纪30年代以降,传统戏曲现代化转型的整体思潮,从某种程度上说,这也是今日戏曲传承与创新必须直面的理论遗产与历史资源。WU Xiaoru is a fan of Peking Opera,a critic of drama,a cultural scholar,and a university teacher.In his opera activities of more than half a century,one of his outstanding achievements is to consciously carry out extensive and unique criticism of Peking Opera and to construct a theory centered on"transmission",which specifically includes three dimensions:criticizing the"non-transmission",encouraging"successors",and calling for the"true tradition",thus revealing the rich connotations contained in"transmission".Based on these,he also created a number of new terms for the study of opera,which enabled the"old operas"to escape from the binary logic of the separation between the old and new,and instead explored the path of"transmission"internally.The"unorthodox"articles such as reviews on operas and performances also has become WUs most representative"narrative style".WUs criticism on Peking Opera and its theorization reflect the general trend of modernization and transformation of the traditional operas since the1930s.Toa certain extent,this is alsothe theoretical legacy and historicalresourcesthat must be faced in theinheritance and innovation of operas today.

关 键 词：吴小如 “传”之理论 述学文体 京剧批评 京剧学人 

分 类 号：J821[艺术—戏剧戏曲]