戏曲作为艺术的典范:梅兰芳与爱森斯坦的《方法》  

XiQu as a Model of Art:Mei Lanfang and Eisenstein's Method

作　　者：杨士博 YANG Shibo

机构地区：[1]中央戏剧学院电影电视系

出　　处：《电影理论研究(中英文)》2025年第1期55-65,共11页Journal of Film Studies

基　　金：“中央高校基本科研业务费专项资金资助”(中央戏剧学院导学团队研究生)项目“重访爱森斯坦的理性电影与垂直蒙太奇”的阶段性成果(YNDX2536)。

摘　　要：中国戏曲艺术大师梅兰芳1935年访问苏联,电影导演谢尔盖·爱森斯坦在现场观看梅兰芳演出之后写下了《献给梨园的魔法师》一文,对中国戏曲艺术大加赞赏。该文的观点和立场与他后期的著作《方法》有着深刻的内在关联。《方法》一书深入研究了人类前逻辑思维在艺术中的重要作用,爱森斯坦在其中还指出艺术最应该成为辩证法“对立统一”模式的体现。《献给梨园的魔法师》将梅兰芳戏曲表演形式的来源追溯至中国人前逻辑的“原始思维”,爱森斯坦还在梅兰芳的戏曲中看到了感性与理性、形式与内容完美的对立统一。正是由于以上的这些特质,爱森斯坦才将戏曲视为艺术发展的典范。In 1935,Russian film director Sergei Eisenstein wrote the essay "To the Magician of the Pear Orchard" after attending Mei Lanfang's live performances.In this essay,he praised the art of Chinese XiQu.The essay's viewpoints and positions are deeply connected to his later book,Method,in which Eisenstein explores the significant role of human pre-logical thinking in art and argues that art should embody the dialectical model of the'Unity of Opposites'. "To the Magician of the Pear Orchard" traces the origins of Mei Lanfang's opera performances to the pre-logical 'Primitive Thinking' of the Chinese.Eisenstein also identifies a harmonious unity of opposites in Mei Lanfang's XiQu, such as sensibility and rationality,as well as form and content.It is precisely these qualities that led Eisenstein to regard XiQu as a model of art.

关 键 词：爱森斯坦 梅兰芳 《方法》 原始思维 对立统一 

分 类 号：J80[艺术—戏剧戏曲]