中国戏曲中的客体生产与认识论——从京剧《三岔口》的桌子说起  

Object Production and Epistemology in Xiqu:Starting from the Table in Peking Opera ThreewayIntersection

作　　者：刘晓明 LIU Xiaoming

机构地区：[1]岭南师范学院文学与传媒学院

出　　处：《戏剧艺术》2025年第1期31-43,共13页Theatre Arts

基　　金：国家社科基金一般项目“中国戏剧文体与演剧的互动演剧”(20BZW006)的阶段性成果。

摘　　要：中国传统戏曲的道具极为简单,几乎所有的客体甚至场景都可通过“一桌二椅”而获得显现。这是如何可能的?中国传统戏曲、现代戏剧理论以及西方哲学理论对中国戏曲客体生产中的现象缺乏有针对性的分析,这种现象表现在一种客体同时存在着不同的“显相”。为此,发生戏剧理论能够对此现象提供一种新的理解维度。发生戏剧学认为,我们需要将客体重返它的发生形式,这种形式作为一种纯粹形式,处于前概念状态,尚未被实在化,它既在也不在,具有被无限定义的可能,也就具有无限的生成性。由此,我们就能理解戏曲中例如那张桌子的存在物何以能够不断地生产出不同的客体并被我们的认知所接受的根本原因。In traditional Xiqu,props are minimal,with nearly all objects and scenes represented through the use of"one table and two chairs".How is this possible?Both traditional Xiqu and modern theatrical theory,as well as Western philosophical theory,often lack targeted analyses of the phenomena involved in the object production of Xiqu.This phenomenon is reflected in the coexistence of different"manifestations"of a single object.In this context,Emergent Dramaturgy offers a new dimension of understanding.According to Emergent Dramaturgy,the object must be returned to its mode of emergence--a form that exists as a pure entity in a pre-conceptual state,neither fully realized nor actualized.It is both present and absent,with infinite possibilities for definition and,consequently,infinite generative potential.From this perspective,we can better understand why objects such as the"table"in Xiqu can continuously generate different forms and be readily accepted by our cognition.

关 键 词：戏曲 客体生产 认识论 桌子 

分 类 号：J80[艺术—戏剧戏曲]