解构主义视角下的当代戏曲艺术新变现象研究

发布时间：2018-09-04 12:06

【摘要】：传统文化记载着中华文明的足迹,戏曲艺术包含了上下五千年文化的精粹,展现着中华文化的灿烂荣光。穿越古今,戏曲艺术来到当代,在文化复兴的背景下,寻找适合自身最佳的生存发展之路。“艺术的创新,其实在很长的时间里都难有一个完整的判断,也容易招致行内专家的批评。”[1]可见,戏曲艺术的创新之路荆棘丛生,作品的好坏难以在当下获得定论,面对褒贬不一的言论,艺术家并没有止步不前,他们大胆地进行实践、探索与总结,很多时候并无功利性目的。解构的新变形态在当代戏曲艺术的新变现象中具有典型性,推动戏曲艺术的发展与创伤戏曲艺术的本体,矛盾地存在于这一现象中,这一矛盾是多数戏曲创新手段共同面临的问题,只有以辩证的眼光来分析、总结当下的戏曲解构现象,才能摸索到戏曲艺术正确的发展轨道,避免方向性错误。近二三十年中国古典戏曲理论越来越受到大家重视,阐释古典戏曲理论的著作出版了多种,但与当前的戏曲创作实践结合得还很不够,对于西方戏剧理论我们不应该排斥,而应该认真学习、借鉴,同时更应该看到中国的戏曲理论更符合中国戏曲的创作。中国戏曲理论的成长与西方文艺理论是息息相关的,古典戏曲理论固根保本,西方理论在实践中不断创新戏曲载体,取其精华,去其糟粕,二者相辅相成,才能共同促进当代戏曲的繁荣。本论文以解构主义视角观照中国戏曲,笔者认为戏曲解构现象是在尊重本体的前提下,运用现代意识打破传统,打破原有的内在秩序,将戏曲的元素拆分、独立出来进行再创作,同时吸收其他舞台艺术的精髓,重构出具有现代特色艺术风貌的表演,并重新搬上舞台。详细来说,第一章是关于解构主义的解读,主要论述解构主义的兴起与界定,解构现象在各艺术领域的表现,并详细论述解构主义与戏曲艺术碰撞的时代性与必然性;第二章是分析解构主义视角下戏曲艺术的新变形态,在大量收集与考察的基础上,分析解构现象的典型案例。戏曲艺术的三大特性是它被“解构”的前提条件之一,符号化的戏曲元素是解构现象中最常见的拆分元素,带有浓厚的后现代色彩,经过从整体的“剥离与成形”、“解构与重构”,并加以“戏曲化”,才能更符合戏曲艺术的内在本质;第三章是戏曲解构现象的作用及影响。分别从“争论、创新、发展”三个方面阐释“多样呈现、创新发展”的发展手段与方式,从这一现象对戏曲艺术继承与发展产生地积极推动作用、负面消极影响两个方面辩证地分析当代戏曲解构现象所呈现的“利弊互现、争执向前”局面;第四章是解构主义理论对于戏曲艺术的研究价值。一是在前三章的写作中萌生的主观看法,二是研究过程中的见证与成长。戏曲美学是研究戏曲艺术美的特征、规律及其创作和审美的学科,它以哲学为基础,运用艺术学、心理学、文化学等多个学科的成果,对创作主体、现实客体、艺术本体、接受主体等诸多方面构成的审美关系、审美原则、审美特征和审美规律等重要问题进行研究。本论文重视历史,尊重客观事实,坚持美学批判的立场,从美学理论角度入手对戏曲舞台艺术的美学特征进行综合和整体的研究;坚持理论与实践相结合,查阅大量文献资料,将解构主义理论、戏曲美学理论及戏曲艺术实践相结合,相互生发印证,避免纯理论化和纯作品研究的倾向;结合逻辑与历史相统一的方法,既注重戏曲传统美学研究对当时及后世的影响,又遵循正确的艺术规律,研究解构主义理论与戏曲艺术的有机结合,以获得更为全面、深刻的理论认知。通过对戏曲解构现象的研究,笔者认为在视觉文化逐渐受到大众追捧的环境下,“解构”的手段虽不一定可行,但不得不承认这些新变形态使戏曲在观看上化难为易,打开大多数观众接受、理解戏曲艺术的大门,对普及戏曲知识、继承与发展戏曲开拓了一条新路,对戏曲改革有一定的指导意义,并能为其他艺术形式的发展提供些许的参考与借鉴。
[Abstract]:Traditional culture records the footprints of Chinese civilization. Traditional opera art contains the quintessence of 5000 years of Chinese culture and shows the splendor of Chinese culture. A complete judgment is easy to be criticized by experts in the field. "[1] It can be seen that the road of innovation in the art of traditional Chinese opera is full of thorns, the quality of works is difficult to get a final conclusion at present, in the face of different praises and criticisms, artists have not stopped, they boldly practice, explore and summarize, and in many cases there is no utilitarian purpose. The new transformation is typical in the new changes of contemporary opera art. The contradiction between the development of opera art and the noumenon of traumatic opera art exists in this phenomenon. This contradiction is a common problem faced by most of the innovative means of opera. Only through dialectical analysis and summary of the current deconstruction of opera can we achieve this goal. In the past twenty or thirty years, more and more attention has been paid to the theory of Chinese classical opera, and many works have been published to explain the theory of classical opera. However, the combination with the current practice of opera creation is not enough. We should not repel the theory of Western drama, but should be serious about it. The growth of Chinese opera theory is closely related to western literary and artistic theory. Classical opera theory is rooted in preservation. Western theory constantly innovates the carrier of opera in practice, takes its essence and removes its dross. Only when the two complement each other can they promote together. The prosperity of contemporary opera. This paper examines Chinese opera from the perspective of deconstruction. The author believes that deconstruction is to break the tradition, break the inherent order, separate the elements of the opera and re-create them independently, absorb the essence of other stage art, and reconstruct the original form of deconstruction on the premise of respecting the noumenon. In detail, the first chapter is about the interpretation of deconstruction, mainly on the rise and definition of deconstruction, deconstruction phenomena in various fields of art performance, and a detailed exposition of deconstruction and opera art collision of the times and inevitability; the second chapter is the analysis of deconstruction Perspective On the basis of collecting and investigating a large number of typical cases of deconstruction, this paper analyzes the new deformation of the art of Xiajiao Opera. The three characteristics of the art of traditional Chinese opera are one of the prerequisites for its deconstruction. Symbolized elements of traditional Chinese opera are the most common elements of deconstruction, with a strong post-modern color, which are stripped from the whole. Only by separating and forming, deconstructing and reconstructing, and "operatizing", can we be more in line with the intrinsic nature of opera art; the third chapter is the function and influence of the deconstruction phenomenon of opera. The fourth chapter is the value of deconstruction theory in the study of the art of drama. First, the subjective views sprouted in the writing of the first three chapters, and second, the research process. Drama aesthetics is a subject which studies the characteristics, laws and creation and aesthetics of the artistic beauty of drama. It is based on philosophy and utilizes the achievements of many disciplines such as art, psychology and culture to study the aesthetic relationship, aesthetic principles and characteristics of the subject of creation, realistic object, artistic noumenon, acceptance subject and so on. This thesis pays attention to the history, respects the objective facts, insists on the aesthetic criticism standpoint, carries on the comprehensive and overall research to the aesthetic characteristics of the stage art of drama from the aesthetic theory angle, insists on the combination of theory and practice, consults a large number of literature materials, and will deconstruct the theory and the aesthetic theory of drama. This paper discusses the combination of traditional Chinese opera art practice and mutual proof, avoiding the tendency of pure theory and pure works research; combines the method of logical and historical unity, pays attention to the influence of traditional Chinese opera aesthetics research on the time and future generations, and follows the correct artistic law, studies the organic combination of deconstruction theory and traditional Chinese opera art, in order to obtain more. Through the study of the deconstruction phenomena of traditional Chinese operas, the author thinks that although the means of deconstruction are not necessarily feasible in an environment where visual culture is gradually popular with the public, they have to admit that these new transformations make it difficult to watch operas, open the door for most viewers to accept and understand the art of traditional Chinese operas. It has opened up a new way for popularizing the knowledge of opera, inheriting and developing opera, has certain guiding significance for the reform of opera, and can provide some reference for the development of other art forms.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J805

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