民国时期京剧表演理论及特征研究
发布时间：2019-04-27 03:50
【摘要】：1912年到1949年,中国社会、思想急剧变化,古代“剧学”观念与新文化运动、国剧运动、新国剧运动交集碰撞,使得戏曲理论研究产生了两个完全不同的参照,作为戏曲领域最为活跃的京剧表演艺术承载了民国时期戏曲研究的主要任务。一方面,古代“剧学”观念到民国时期继续发展将京剧表演理论推送至“剧学”的中心,京剧表演理论研究是民国时期“剧学体系”发展的重要特征；另一方面,横跨中西两大文化语境下的京剧表演理论研究悄然融入到了“剧学论争”的背景之下,传统戏曲研究的纯学术的艺术探讨和消闲式艺术欣赏逐渐让位于对表演艺术政治意义、教育作用和社会功能的论争。因此,在五四后的“剧学”与古代“剧学”两个“剧学”的作用下,民国时期京剧表演理论研究表现为始终在中西方戏剧理论的对立中,在新与旧、雅与俗、变与不变的讨论中寻找、回答戏曲舞台性的诸多问题。在双重背景下,研究者以全新的视角阐释京剧的舞台实践理念,赋予京剧表演理论独特的风貌。出现了针对于某个或某类演员艺术特色的专项研究、对京剧表演技能的独立研究,以及对服装、化妆等辅助舞台表演的研究,并且在以上具体研究之余,有关表演美学的研究取得了突破性的进展,有关京剧表演研究成果的反思也进入了理论视野。从研究内容、研究主体、研究方法几方面考量,这一时期的京剧表演理论研究更多采取中西比较法,开始京剧表演美学精神的探索,并且对学术概念进行清晰科学的厘定,这一过程不仅有文人的参与,还包含着艺人在与文人的良好互动及自我审视后完成的理论贡献,艺人与文人的文化认同与实践契合,合力创造了京剧舞台艺术的鼎盛,带动表演理论向学理性方向发展,这是表演理论研究的主要特征。民国京剧表演理论相伴于京剧表演艺术的鼎盛时期而得到空前发展,对当代戏曲表演理论的深化和体系构建创造了良好的基础,但是理论成果缺乏系统性、科学性,意识形态和西方话剧理论对京剧理论造成的深刻影响,桎梏了京剧表演理论体系的构建,这是民国时期京剧表演理论发展受到局限的深刻原因,同时也为当下京剧表演理论研究的推进和深化创造了契机。
[Abstract]:From 1912 to 1949, Chinese society, thought changed dramatically, ancient "dramatist" concept and New Culture Movement, National Opera Movement, New National Opera Movement intersected and collided, resulting in two completely different references in the study of opera theory. As the most active performing art of Peking Opera in the field of opera, it carried the main task of opera research in the period of the Republic of China. On the one hand, the concept of "drama" in ancient times continued to develop in the period of the Republic of China and pushed the performance theory of Peking Opera to the center of "drama science". The study of the performance theory of Peking Opera was an important feature of the development of "drama system" in the period of the Republic of China. On the other hand, the theoretical study of Beijing Opera performance, which straddles the cultural context between China and the West, is quietly integrated into the background of "drama controversy". The pure academic artistic exploration and leisure art appreciation of traditional opera research gradually give way to the debate about the political significance, educational function and social function of performing arts. Therefore, under the action of "drama" after the May 4th Movement and "drama science" in ancient times, the study of Beijing opera performance theory in the Republic of China was always in the antagonism of Chinese and western theatrical theories, in the new and old, elegant and vulgar. Change and invariance in the discussion, to answer the drama stage nature of a number of questions. Under the dual background, the researcher interprets the stage practice idea of Beijing Opera from a new angle, and gives Beijing Opera the unique style and appearance of the performance theory. There has been a special study of the artistic characteristics of an actor or a class of actors, an independent study of the performing skills of Beijing Opera, and a study of auxiliary stage performances such as clothing, makeup, and so on, and in addition to the above specific studies, A breakthrough has been made in the study of performing aesthetics, and the reflection on the achievements of Beijing Opera performance has also entered the theoretical field of view. Considering the contents, subjects and methods of the study, the performance theory of Peking Opera in this period adopted the Chinese and Western comparative methods, and began to explore the aesthetic spirit of Beijing Opera performance, and made a clear and scientific determination of the academic concept, and made a clear and scientific determination of the academic concept, and made a clear and scientific determination of the academic concept. This process involves not only the participation of the literati, but also the theoretical contributions made by the artists after their good interaction with the literati and self-examination. The cultural identity and practice of the artists and the literati fit together to create the prosperity of the stage art of Beijing Opera. It is the main characteristic of the performance theory research to drive the performance theory to the direction of academic rationality. The performing theory of Beijing Opera of the Republic of China has been developed at the peak of the performing arts of Beijing Opera. It has created a good foundation for the deepening of the theory of contemporary opera performance and the construction of the system. However, the theoretical achievements lack of systematicness and scientificalness. The profound influence of ideology and western drama theory on Beijing opera theory shackles the construction of Beijing opera performance theory system, which is the profound reason why the development of Beijing opera performance theory was limited in the period of the Republic of China. At the same time, it also creates an opportunity for the promotion and deepening of the present study of Beijing Opera performance theory.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J821
，
本文编号：2466664
[Abstract]:From 1912 to 1949, Chinese society, thought changed dramatically, ancient "dramatist" concept and New Culture Movement, National Opera Movement, New National Opera Movement intersected and collided, resulting in two completely different references in the study of opera theory. As the most active performing art of Peking Opera in the field of opera, it carried the main task of opera research in the period of the Republic of China. On the one hand, the concept of "drama" in ancient times continued to develop in the period of the Republic of China and pushed the performance theory of Peking Opera to the center of "drama science". The study of the performance theory of Peking Opera was an important feature of the development of "drama system" in the period of the Republic of China. On the other hand, the theoretical study of Beijing Opera performance, which straddles the cultural context between China and the West, is quietly integrated into the background of "drama controversy". The pure academic artistic exploration and leisure art appreciation of traditional opera research gradually give way to the debate about the political significance, educational function and social function of performing arts. Therefore, under the action of "drama" after the May 4th Movement and "drama science" in ancient times, the study of Beijing opera performance theory in the Republic of China was always in the antagonism of Chinese and western theatrical theories, in the new and old, elegant and vulgar. Change and invariance in the discussion, to answer the drama stage nature of a number of questions. Under the dual background, the researcher interprets the stage practice idea of Beijing Opera from a new angle, and gives Beijing Opera the unique style and appearance of the performance theory. There has been a special study of the artistic characteristics of an actor or a class of actors, an independent study of the performing skills of Beijing Opera, and a study of auxiliary stage performances such as clothing, makeup, and so on, and in addition to the above specific studies, A breakthrough has been made in the study of performing aesthetics, and the reflection on the achievements of Beijing Opera performance has also entered the theoretical field of view. Considering the contents, subjects and methods of the study, the performance theory of Peking Opera in this period adopted the Chinese and Western comparative methods, and began to explore the aesthetic spirit of Beijing Opera performance, and made a clear and scientific determination of the academic concept, and made a clear and scientific determination of the academic concept, and made a clear and scientific determination of the academic concept. This process involves not only the participation of the literati, but also the theoretical contributions made by the artists after their good interaction with the literati and self-examination. The cultural identity and practice of the artists and the literati fit together to create the prosperity of the stage art of Beijing Opera. It is the main characteristic of the performance theory research to drive the performance theory to the direction of academic rationality. The performing theory of Beijing Opera of the Republic of China has been developed at the peak of the performing arts of Beijing Opera. It has created a good foundation for the deepening of the theory of contemporary opera performance and the construction of the system. However, the theoretical achievements lack of systematicness and scientificalness. The profound influence of ideology and western drama theory on Beijing opera theory shackles the construction of Beijing opera performance theory system, which is the profound reason why the development of Beijing opera performance theory was limited in the period of the Republic of China. At the same time, it also creates an opportunity for the promotion and deepening of the present study of Beijing Opera performance theory.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J821
，
本文编号：2466664
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