发展与承传:齐如山与戏曲现代化  

Innovation and Inheritance:Qi Rushan and the Modernization of Traditional Chinese Opera

作　　者：苏永莉[1] 

机构地区：[1]南京大学中文系,江苏南京210093

出　　处：《艺术百家》2003年第2期52-58,共7页Hundred Schools In Arts

摘　　要：本文以齐如山的戏曲观点为考察对象 ,重点分析他对传统戏曲本质的认识和改良的主张。齐如山研究戏曲是因为对西方戏剧的兴趣 ,经历了一个始于否定而终于肯定戏曲的过程。他认为中国戏曲以“无声不歌 ,无动不舞”为本质特征 ,戏曲内容的表现以“合情合理”为原则 ,并强调在此前提下积极改良戏曲。他对京剧艺术系统而丰富的舞台形式美有敏锐而准确的认识 ,但忽略了对传统戏曲精神本质的把握 。The article is about Qi Rushan's theory,focusing on his study of the substance and renovation of traditional Chinses Xiqu.It is clear that he has experienced from criticizing Chinese Xiqu to praising it with reference to Western drama,which interestingly indicates the change of Chinese intellectuals' attitude to traditional Chinese culture.He considers “No movement that is not‘dancified’;no sound that is not‘ musicified’”as the substance of traditional Chinese Xiqu.He also advocated renovating traditional Chinese Xiqu nuder this prerequisite.As a conclusion,as Iargue,although Qi Rushan holds the ostensible characteristics of Peking opera,he neglects the inherent characteristics of traditional Chinese Xiqu throughout Za ju in Yuan dynasty to Chuanqi in Ming and Qing Dynasty to Peking opera and other regional forms(Difang xi).

关 键 词：齐如山 戏曲观点 戏曲现代化 改良戏曲 西方戏剧 传统戏曲本质 

分 类 号：J802[艺术—戏剧戏曲]