民国时期的戏曲理论研究

【作者】 金景芝；

【导师】 詹福瑞；

【作者基本信息】 中央民族大学 ， 中国古代文学， 2012， 博士

【摘要】 在民国时期兼收并蓄的文化环境中,一部分戏曲理论家运用新的学术理念和方法来研究戏曲理论,如王国维、余上沅；而另一部分则沿袭传统的考证、校勘、辑佚方法,走老派学者的治学路数。这一时期的戏曲理论批评,既有借鉴西方戏剧理论,又有传统戏曲批评的延续,具备新时期的学术特征,体现了“传统”转向“现代”的学科意识。该时期戏曲研究独立成科,表现在学科术语及专有概念的确立、研究方法的明晰、理论观点及理论结构的出现,传统的曲学本位开始向全面发展。王国维、吴梅等学者开始有意识地构建戏曲史学科。民国时期学者对戏曲功能观的认识是存在分歧的。戏曲改良者片面强调戏曲的社会教育功能,将戏曲作为宣传政治思想、引导社会舆论的工具。而冯叔鸾、王国维等人则主张不能偏废戏曲的娱乐功能。在对戏曲起源的求证上,此时期理论家也进行了不懈的探索,起自西方的“摹仿说”与传统的“词余说”并立。虽然此时期戏曲地位得到了提高,审美观念依然处在雅和俗的二元对立中。在传统雅俗观念的影响下,当时的学者侧重从文本内容、语言风格等方面研究戏曲审美风尚的变化。受中国传统审美观念以及其他艺术形式如诗和词的影响,“意境”也被用来作戏曲理论批评。王国维是戏曲意境论的集大成者。余上沅则从传统思维方式的直觉性和整体性特点出发,以“纯粹的艺术”来论述戏曲的美学特征。王国维将西方的悲剧观念引入中国传统戏曲研究中。他以传统文化中的悲剧意识为基础,又吸纳叔本华等人的悲剧理论,融会贯通,开拓出全新的研究领域。以西方悲剧观念来观照传统戏曲惯有的“大团圆”模式,会发现传统戏曲内部存在着消解悲剧性的因素,这与传统文化“和为贵”、“和为美”观念密切关联。民国时期的戏曲理论家对戏曲表演、脚色特征、脸谱、宾白等等都予以足够的关注,丰富了舞台表演理论。戏曲作为一种综合性的艺术形式,戏曲理论研究也体现了综合性的特点。民国时期的戏曲理论与当时的剧本创作、舞台演出、戏曲改良运动等密切配合,无论是从历时性还是从共时性的角度看,都显示出激荡变革中的转型特征。更多还原

【Abstract】 It’s a eclectic cultural environment in the Republic of China. Part of Traditional Opera theorists used the new academic philosophy and methods to study opera theory, such as Wang Guowei, Yu Shangyuan; while another part is followed traditional methods like textual research, collation, addendums, which were the old camp and scholars of the scholarshiplarge ones. In this period, Traditional Opera theory criticism, both absorbed the Western dramatic theory and continued the traditional Chinese opera. It had the academic characteristics of the new era, and reflected the "traditional" to "modern" discipline consciousness.The drama of the period of study became the independent subjects, manifested in the establishment of the discipline terminology and proprietary concepts, clarity of research methods, appearance of the theoretical perspectives and theoretical structure. The traditional opera learning standard started to develop the omnibearing.Wang Guowei, Wu Mei, scholars began to consciously build the Opera Department of History.The Republic of China scholars had different understandings of the opera function. People advocated the drama improved Exaggerate the aspect of the social educational function of the opera, opera was seen as a tool of promote political and ideological and guide public opinionpropaganda and political thought. People like Feng Shuluan, Wang Guowei, advocated that can not be neglected opera entertainment. On the confimation of the traditional Opera, theorists unremitting exploration, starting from the West "imitation" and traditional "ci yu" side by side.Although the status of opera was improved,the aesthetic ideas are still in a dualistic and secular.Under the impact of the concept of traditional refined and popular tastes, scholars focused on the study opera aesthetic fashion changes from the text content, language and style. By the effects of Chinese traditional aesthetic ideas as well as other art forms, poetic and ci,"Mood" was also used for the drama of theoretical criticism.Wang Guowei’s a master on opera mood.Yu Shangyuan from the traditional way of thinking of intuition and integrity, discussed the aesthetic characteristics of the opera on "pure art".Wang Guowei introduced the concept of tragedy from the West to traditional Chinese opera.Based on the sense of tragedy in the traditional culture,he also absorbed the theories of Schopenhauer and others, tragedy, mastery, and opened up new areas of research.Contemplating the concept of Western tragedy, we could find traditional opera usually has "Happy Reunion",which’s closely related with the traditional culture "harmony is valuable", and "cherish harmony ".Opera theorist of the Republic of China also studied on performance/character/facial makeup and spoken parts in the drama,enriched the theory of stage performances.As a comprehensive art form, drama theory research also reflects the comprehensive features.The Republic of opera theory coordinated with the script writing, stage performances, drama improved exercise.From the diachronic and synchronic point of view,it has shown the transition characteristics in the stirring changes.更多还原