余上沅戏剧美学思想论析  

Yu Shangyuan Aesthetics of Traditional Chinese Opera

作　　者：陈友峰[1] Chen Youfeng

机构地区：[1]中国戏曲学院

出　　处：《戏剧与影视评论》2024年第4期28-41,共14页Review of Theatre and Film

摘　　要：余上沅先生是我国现代著名戏剧教育家和戏剧理论家。他提出“诗的戏剧”学说,认为构成戏剧的主要因素是仿效和节奏;节奏的本质是人的情感和情绪的节律性变化的呈现,使中国戏曲具有鲜明的形式感,拥有诗的品格和意蕴。真正“纯粹的艺术”必须是非写实的,是超象、写意的,充满着隐喻和象征;中国戏曲与中国传统书法、绘画一样均属于“纯粹的艺术”;戏曲艺术所具有的象征性时空、符号化道具、舞蹈化表演以及诗歌乐舞的高度融合,是促使中国戏曲成为“纯粹的艺术”的重要因素;中国戏剧的途径就是创造“古今同梦的戏剧”所必经的途径,它是在传统“旧戏”基础上,遵循传统“旧戏”的艺术原则和美学精神,汲取西方戏剧结构和舞台呈现形式而创造的一种新型戏剧。余上沅先生的戏剧美学思想对当下戏曲艺术发展和文化建设,不仅具有现实实践意义,同样具有不可估量的学术价值。Yu Shangyuan was a prominent theater practitioner and theorist in modern and contemporary China.He proposed the theory of "poetic drama," which holds that the main factors in drama are "imitation" and "rhythm." The essence of "rhythm" is the rhythmic change of human emotions and sentiments,which makes Chinese opera have a distinct formal sense and possess the poetic quality and connotation.True "pure art" must be non-realistic,super-image,and symbolic,filled with metaphors and symbols.Chinese opera,like traditional Chinese calligraphy and painting,belongs to "pure art".the symbolic temporal and spatial structure,symbolic props,dance-like performance,and high integration of poetry,music,and dance in opera art are important factors that have contributed to making Chinese opera a "pure art".the path of Chinese drama is the inevitable path of creating "a dream of ancient and modern times" drama,which is created by adhering to the artistic principles and aesthetic spirit of traditional "old opera" and drawing on the structural and stage presentation forms of Western drama.The dramatic aesthetics thought of Yu Shangyuan has practical significance for the development of contemporary opera art and cultural construction,and immeasurable academic value.

关 键 词：余上沅 戏剧美学 “诗的戏剧” “纯粹的艺术” 古今同梦的戏剧 

分 类 号：J801[艺术—戏剧戏曲]