中国近现代话剧的“声音”阐释——从“言论正生”到“控诉”的仪式  

Interpretation of the Voice in Modern Chinese Drama - From the Speech of Life to the Ritual of Accusation

作　　者：胡志毅[1] HU Zhiyi(College of Media and International Culture,Zhejiang University,Hangzhou 310030)

机构地区：[1]浙江大学传媒与国际文化学院,杭州310030

出　　处：《文化艺术研究》2025年第1期9-16,111,共9页Studies in Culture and Art

基　　金：国家社科基金重大项目“中国近现代话剧文献补遗与集成研究”(项目编号:22&ZD270)的阶段性成果。

摘　　要：在视觉中心主义的研究中,声音只是辅助性的研究。中国话剧,从一开始就是有声音的存在。声音,有人声(主要指演员的声音)、音乐,以及舞台艺术中的其他声音。此外,它还具有隐喻的含义,即社会的、文化的声音。从“言论正生”到男女合演、从《古潭的声音》到《雷雨》的“雷声”、从《卢沟桥》的“炮声”到“控诉”的仪式,中国话剧的先驱者在声音方面进行了种种探索,既有对话剧声音特性的探索,如男女合演、话剧的命名等,也有对声音的文化性的研究,如声音的象征、仪式等,对后来的话剧产生了深远而持久的影响。In visual-centric studies,sound is merely a supplementary element.Chinese drama,from its inception,has always been accompanied by sound.Sound encompasses not only human voices(mainly referring to the actors'voices),music,and other sounds in stage art,but also carries metaphorical meanings,representing social and cultural voices.From"the speech of life"to the male-female co-performance,from Sound of the Ancient Pond to Thunderstorm,from the cannon fire to the ritual of accusation in The Lugou Bridge,the pioneers of Chinese drama have explored sound in various ways.These explorations range from the characteristics of sound in drama,such as male-female co-performance and the naming of plays,to the cultural study of sound,such as its symbolism and rituals,all of which have had a profound and lasting impact on later dramas.

关 键 词：中国近现代话剧 声音 “言论正声” “控诉”仪式 

分 类 号：J824[艺术—戏剧戏曲]