民族艺术话语的越境之旅:重审梅兰芳海外公演中的“程式”舆论

发布时间：2018-01-11 10:29

本文关键词：民族艺术话语的越境之旅:重审梅兰芳海外公演中的“程式”舆论　出处：《清华大学学报(哲学社会科学版)》2015年01期 　论文类型：期刊论文

【摘要】：关于戏曲"程式"的研究层出不穷,却亟待重新审视与历史化处理。民国时期在与海外对话的复杂历史语境中,梅兰芳及周边知识人团体对戏曲程式等焦点问题的表述,即显现出历史性和策略性的转变。其中的"西方影响"也向度多样:既与欧美主流舆论达成关于戏曲传统本质的"共识",并借此收获民族文化自信;又因在海外评论者和梅氏策划核心内部文化反视自觉的存在,表现出深层通约的可能。对相关问题的辨析,也应成为当代戏曲理论构建和对西方话语反思的前提。
[Abstract]:There are many studies on the "formula" of opera, but it needs to be reexamined and dealt with in history. The period of the Republic of China was in the complicated historical context of dialogue with overseas countries. Mei Lanfang and the surrounding intellectual groups on the drama program and other focus issues. That is to say, there are historical and strategic changes, in which the "Western influence" is also varied: with the mainstream public opinion in Europe and the United States to reach a "consensus" on the traditional nature of the opera, and thus harvest national cultural self-confidence; And because of the existence of the inner culture counterview consciousness in the overseas critics and Mei's planning core, it shows the possibility of deep agreement and discriminates the related problems. It should also become the premise of the construction of contemporary opera theory and the reflection of western discourse.
【作者单位】：中国人民大学文学院国剧研究中心;
【基金】：中国人民大学科学研究基金(中央高校基本科研业务费专项资金资助)项目“跨文化对话与戏曲的近代嬗变(1919—1937)”阶段性成果(13XNF061)
【分类号】：J809.2
【正文快照】： 中国戏曲非写实的程式表现手段,往往被认为是相对于“西方戏剧”的异质性和独特性所在。由于欧美现代戏剧正力图在形象和感官层面进行新的挖掘以反抗传统的戏剧摹仿与教谕意图,并追求观演的深层互动和戏剧当下存在意义,戏曲程式表现在形式上给予了欧美戏剧有益的启发,布莱希特

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