“北焦南黄”论

【作者】 常春；

【导师】 丁罗男；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2012， 博士

【摘要】 “北焦南黄”，北京人民艺术剧院总导演焦菊隐和上海人民艺术剧院院长黄佐临。作为同一时代活跃在中国话剧领域最有影响力的两位导演和戏剧家，焦菊隐和黄佐临之间的比对研究较为匮乏。本课题尝试从“北焦南黄”的比对观照中对他们分别代表的戏剧理想、艺术观念甚至时代精神进行初步的梳理与整体性研究。因循人格、经历与艺术思想渊源——戏剧方法与实践——戏剧观念与理论的脉络，论述二人在多层次多方面的异同表现及其根源，进而在二元比对中提供审视中国现当代戏剧的新视角。研究内容主要从以下三个方面展开：第一，结合时代发展大背景，分析两人在不同人生阶段的经历。并尝试透过具体事件深入他们的不同个性与心态，以及在不同阶段接受到的艺术观念的影响与思想渊源。从政治、经济、社会文化角度看两人的生活境遇与个人的反应、动作；在关注文化、戏剧进程之于个人投影的同时，探讨生命的成长与精神的归所。第二，焦菊隐、黄佐临两人作为职业导演在演剧方法与形式上的探索与成就的比对。首先，以历时性的视角强调勾勒外部环境下的两人自身演剧历程的比较。随后，从导演与演员表演，舞台时空处理，剧本与二度创作等等导演实践要素进行具体剖析。最后对两人导演艺术的特质与区别作出总论。焦菊隐在斯坦尼和丹钦柯的影响下借鉴戏曲精神制定出具体细致的导表演及舞台演出法则，以写实话剧为本位创造出了符合民族审美习惯的北京人艺风格。黄佐临则以其“写意戏剧”为最高原则，以粗犷自由的笔触勾勒理想的蓝图。第三，焦、黄两人在戏剧观念和理论表达方面的异同表现。首先从两人多次在理论陈述中提到的“意”字入手，包括“诗意”、“写意”、“意境”等，试图深入两人戏剧观念的核心地带阐释异同。随后，探讨两人关于话剧民族化和戏剧现代化建设的观点和理论处理，包括话剧与戏曲的关系，在话剧现代化与民族化及其关系上的不同态度等问题。“北焦南黄”的出现既代表了中国现代戏剧进程中的一个具体的历史阶段，又总结和播种了过往“民族化”的成果和其后“新时期”的探索。对中国戏剧的历史、当下与未来有着继往开来的重要借鉴意义。更多还原

【Abstract】 “Northern Jiao and Southern Huang”, Jiao Juyin as general director of the BeijingPeople’s Art Theatre and Huang Zuolin as president of the Shanghai People’s ArtTheatre, both are the most active and influential drama directors and dramatists duringthe identical era. However, concerning the comparison between Jiao Juyin and HuangZuolin is relatively scarce. This dissertation aims to make an analysis and study ontheir different dramatic ideal, artistic concept and the times’ spirit that can reflect theirera’s features. From multiple levels of ideological origins of personality andexperience, dramatic methodology and practice, and theatrical concept and theory, thedissertation further intends to seek the commons and differences between them basedon Chinese contemporary dramatic perspective.This research is mainly carried out from the following three aspects:Firstly, combined with the background of their times, the dissertation analyzes thedifferent experiences between them based on their different lives and makes aconclusion about their personality and attitude by concrete events, and their artisticconcepts and ideological origins. Also, from the political, economic, social andcultural angles, it analyzes different living circumstances leads to various personalresponse and action in order to explore the growth of life and the destination of spirit.Secondly, comparison between Jiao Juyin and Huang Zuolin’s dramaticmethodology and achievement as professional directors. First, from the diachronicperspective, the dissertation emphasizes to compare two drama experiences under theexternal environment. Subsequently, from the practical elements of director andperformers, the stage space-time processing, the script and the second creation, etc., itcarries out specific analysis. Finally, the dissertation makes a general conclusion fortheir directing characteristics and distinctions. Specifically, Jiao Juyin referring toStanislavski and Danchenko develops a specific and detailed guide shows and stageperformance laws, and creates a national aesthetic style of Beijing People’s Artstyle-based realist drama; but rather Huang Zuolin regards freehand play as thesupreme principle to express and outline the free and rough ideal blueprint. Thirdly, the dissertation demonstrates two kinds of theatrical concepts andtheories. First, from the angle of "meaning" mentioned in their theoretical statements,the dissertation tries to seek the similarities and differences between their performanceby analyzing their "poetry","impressionistic", and "mood". And then, it explores theirdifferent dramatic ideas and theories on drama nationalization and modernization,including the issue on the relationship between drama and traditional opera, dramaticmodernization and nationalization, and their relation with different attitudes.The appearance of “Northern Jiao and Southern Huang” does not only representthe Chinese modern drama development, but also generalize the outcome of“nationalization” and carry out further deep exploration for the new era. In general, ithas very important significance for Chinese drama history, present and future.更多还原