作为自由心灵显像的多元演剧开拓——论林兆华对中国话剧演剧学派的贡献  

The Expansion of Multidimensional Theatre as the Manifestation of a Free Spirit:Lin Zhaohua's Contribution to Chinese Huaju Performance School

作　　者：京锐 JING Rui

机构地区：[1]南京大学文学院

出　　处：《戏剧艺术》2024年第5期118-130,192,共14页Theatre Arts

基　　金：国家社会科学基金艺术学重大项目“中国话剧演剧学派研究”(20ZD21)的阶段性成果。

摘　　要：在林兆华看来,话剧演剧与生命历程同构,他将舞台作为“心灵显像”的“第二世界”,并在对“人”内心的自由开掘中创造出“一戏一格”的独特舞台语汇。其中,民族演剧美学传统是他通向“自由心灵”的可能前提与方法路径,对后者的深刻追求又促发对前者的择鉴与现代转化。这种“自由戏剧观”从根本上启发和参与了他对表导演“双重结构”建构的持续探索,更引领“双重”趋向“多重”的演进。这在他不同时期主要导演作品中有清晰体现,尤以《绝对信号》(1982)、《狗儿爷涅槃》(1986)与《故事新编》(2000)为代表。通过对他矛盾化理论阐述、多元化演剧实践中贯穿始终的统一本质的发掘,其复杂演剧面貌呈现出本质上的关联性、连续性与发展性。For Lin Zhaohua,the practice of theatre is intertwined with the human life journey.He views the stage as a“second world”where“manifestation of the soul”takes place.Through his free exploration of the human inner world,he has created a unique theatrical language,characterized by“one play,one style”.The aesthetic tradition of national theatre serves as a potential foundation and method for reaching this“free spirit”,while his profound pursuit of the freedom further prompts the selection and modern transformation of these traditional aesthetics.This“free theatre concept”fundamentally inspires and shapes his ongoing exploration and the gradual development of a“dual structure”in his acting and directing,which later evolves into a“multiple structure”.This evolution is clearly reflected in his major directorial works across different periods,particularly in Absolute Signal(1982),Uncle Doggie's Nirvana(1986),and A New Compilation of Stories(2000).Through the consistent exploration of the unified essence in his contradictory theoretical explanations and diverse theatrical practices,the complex theatrical landscape he has created reveals intrinsic connections,continuity,and development.

关 键 词：林兆华 中国话剧演剧学派 自由心灵 民族美学 多元演剧 

分 类 号：J80[艺术—戏剧戏曲]