戏曲艺术体制的现代化过渡--论新编历史剧脚色制的变动与恪守  

Modernizing Xiqu Art System:The Evolution and Permanence of the Role-play System in New Historical Play

作　　者：王一冰 Wang Yibing

机构地区：[1]三江学院文学与新闻传播学院

出　　处：《戏剧（中央戏剧学院学报）》2024年第5期91-101,共11页Drama:The Journal of the Central Academy of Drama

基　　金：江苏省2024年度高校哲学社会科学研究一般项目“戏曲电影舞台艺术体制的电影化转换研究”(项目编号:2024SJYB0436);国家社科基金项目“20世纪中国戏剧理论的现代建构”(项目编号:19BZW098)的阶段性成果。

摘　　要：新编历史剧为了宣传唯物史观、表现“人道主义”等思想观念;为了实践现实主义、现代主义等艺术观念,对传统戏曲“脚色体制”的类型化艺术表现进行了诸多方面的革新。与此同时,戏曲脚色体制的形态整体性,依然在表演的舞台实现、演出的组织安排、导演作用的发挥等方面,对新编历史剧起到体制的结构性作用。新编历史剧脚色体制的“变”与“不变”,呈现出上承传统戏、下启现代戏的过渡性质。传统戏、新编历史剧、现代戏,在题材的“三并举”之外,还构成了20世纪戏曲现代化艺术体制的演进逻辑。The new historical play has undergone various reforms in the typified artistic expression of traditional Xiqu's"role-play system"in order to promote the materialist view of history and express ideas such as"humanitarianism"and to practice artistic concepts such as realism and modernism.At the same time,the overall form of the role-play system in traditional Xiqu still plays a structural role in terms of performance on stage,organization of performance and directing in the new historical play.The dual nature of the role-play system-both evolving and enduring-in the new historical play reflects a transition that respects traditional Xiqu while inspiring modern development.Traditional Xiqu,new historical play,and modern Xiqu not only realize the"simultaneous development"of subjects,also constitute the evolutionary logic of the modernization of 20th century Xiqu art system.

关 键 词：新编历史剧 脚色制 现代化 戏曲 

分 类 号：J82[艺术—戏剧戏曲]