从“整理改编”到“经典改写”——兼论现代戏曲的一种新文体  

From“Editing and Adaptation”to“Classic Rewriting”-On a New Literary Form in Modern Xiqu

作　　者：赵建新[1] ZHAO Jianxin

机构地区：[1]中国戏曲学院《戏曲艺术》编辑部

出　　处：《戏剧艺术》2024年第5期70-77,104,共9页Theatre Arts

基　　金：国家社科基金艺术学重大项目“戏剧与影视评论话语体系及创新发展研究”(23ZD07)的阶段性成果。

摘　　要：对于当今那些为传统戏曲剧目赋予了新形式和新内容的创作实践,称之为“经典改写”或许比“整理改编”更为准确合理。当代改写已具备不同于传统改写的创作方式,因为它们从文化内涵、主题驱动、叙述特征等方面均表现出独立的文类特征。在情节结构上,传统的“整理改编”多是对经典剧目适当的丰富和补充,而“经典改写”则在一定程度上改变了传统剧目的叙事方式,再构了改写作品的戏剧情节。在人物形象的塑造上,传统的“整理改编”对老戏中的人物性格是基本延续,并不刻意改造,而“经典改写”则在很大程度上颠覆了既有形象,打开了传统剧目中并不被关注的边缘视角。For creative practices that give traditional Xiqu repertoires new forms and content,the term“classic rewriting”may be more accurate and reasonable than“editing and adaptation”.Contemporary rewriting differs from traditional adaptation in its creative approach,as it exhibits unique literary characteristics in cultural connotation,thematic motivation,and narrative features.In terms of plot structure,traditional“editing and adaptation”often enriches and supplements classic repertoires,whereas“classic rewriting”alters the narrative style of traditional repertoires to a certain extent,reconstructing the plot of the rewritten work.In character portrayal,traditional“editing and adaptation”typically continues the original characters'traits without deliberate transformation,while“classic rewriting”often subverts established images,and opens marginal perspectives that were not previously emphasized in traditional repertoires.

关 键 词：整理改编 经典改写 戏曲现代化创作 新文体 

分 类 号：J80[艺术—戏剧戏曲]