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作 者:缪海涛[1] 刘雅宣 MIAO Hai-tao;LIU Ya-xuan(College of International Studies,Yangzhou University,Yangzhou,Jiangsu 225127;School of Languages,Cultures and Societies,University of Leeds,Leeds,UK LS29JT)
机构地区:[1]扬州大学外国语学院,江苏扬州225127 [2]利兹大学语言、文化和社会学院,英国利兹LS29JT
出 处:《艺术百家》2024年第6期119-124,159,共7页Hundred Schools In Arts
摘 要:张庚的“剧诗”说以“诗化”“诗性”揭示了戏剧艺术在创意、语言、表演及舞台等方面的综合审美特性和本质规律,为我们进一步认识和把握戏剧艺术提供了理论基础。汤显祖的《牡丹亭》显然是“诗化”的典范,但《牡丹亭》在国际传播的过程中,也出现了非“诗化”现象。文章以张庚“剧诗”说理论的视角与方法,对《牡丹亭》及其国际传播版本如美国彼得·塞勒斯(Peter Sellars)先锋版、纽约林肯艺术中心陈士争版和白先勇青春版中的“诗性”成分进行分析解构,探讨《牡丹亭》在国际传播中应如何把握承继与创新、传统与现代的关系,以及如何在跨文化价值取向方面进行“诗性”重构等问题。Zhang Geng’s concept of“dramatic poetry”reveals the aesthetic characteristics and essential laws of theat⁃rical art through“poeticization”and“poetic nature”in terms of creativity,language,performance,and the comprehen⁃sive stage.It provides a guide for our understanding,grasp,and development of the aesthetics of theatrical art.Tang Xianzu’s The Peony Pavilion is evidently a shining example of“poeticization”in many aspects,including thought,ex⁃pression of will,structure,language,characters,emotion,and artistic conception.However,in the evolution of its inter⁃national dissemination,various adaptations and versions have also brought about phenomena of“poeticization”and non-“poeticization”.This article,from the perspective and method of Zhang Geng’s theory of“dramatic poetry”,an⁃alyzes and deconstructs the“poetic”elements in The Peony Pavilion and its international dissemination,including Peter Sellars’“avant-garde”version in the United States,Chen Shizheng’s version at the Lincoln Center in New York,and Pai Hsien-yung’s youth version of The Peony Pavilion.It proposes how to grasp the inheritance and innovation,tradi⁃tion and modernity,and the reconstruction of“poetic”values across cultures in the international dissemination of The Peony Pavilion.
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