戏场与剧场:中西观阅元明戏剧的不同路径  

Theatre and Drama:Different Approaches to Yuan and Ming Drama in Chinese and Western Perspectives

作　　者：陈田珺 CHEN Tianjun

机构地区：[1]华东师范大学中国语言文学系

出　　处：《戏剧艺术》2024年第5期131-147,共17页Theatre Arts

基　　金：国家社科基金青年项目“欧美学者的中国古典戏曲研究”(23CZW037)的阶段性成果。

摘　　要：情-境交融的戏场理论关注情的内在性与人戏合一的体验,是中文学者对古典曲论的继承与发扬。情-我两分的剧场理论强调情的外在性,为近期英语学界对中国古典戏曲新的关注点。英语学界新锐学者从早期关于宋金行院及元杂剧版本异文的讨论,转向对距离(distance)在不同时期古典戏曲中应用的讨论。中文学界视宋元戏曲为明清传奇的先声,将两者视作纵向上的有机整体。而英语学界倾向于认为元代戏曲中不存在戏剧性,明清戏曲中戏剧性才开始出现,因此元-明戏曲是本质截然不同的艺术形态。Recent research by emerging scholars in English-speaking academia over the past decade presents two different approaches to understanding Yuan and Ming drama in Chinese and Western contexts—namely,the“performance space”where emotions and situation blend,and the“theatrical space”where emotion and self are distinct.The“performance space”theory focuses on the internality of emotion and the experience of unity between person and performance,inheriting and developing traditional Chinese Xiqu theory.On the other hand,the“theatrical space”theory emphasizes the externality of emotion,a new focus for recent English-language academia on traditional Chinese Xiqu.The discussion has shifted from early debates on textual variants in the different versions of Song-Jin Xingyuan and Yuan Zaju to emphasizing the application of distance in traditional Chinese Xiqu of different periods.Chinese scholars view Song-Yuan Xiqu as a precursor to Ming-Qing Chuanqi,considering them as a vertically integrated whole.However,English scholars tend to believe that there was no theatricality in Yuan Xiqu,with theatricality only emerging in Ming-Qing Xiqu,thus considering Yuan-Ming Xiqu as fundamentally different art forms.

关 键 词：元明戏曲 情感空间 情动理论 比较戏剧 

分 类 号：J80[艺术—戏剧戏曲]