近代戏剧的传承与开拓

【作者】 田根胜；

【导师】 赵山林；

【作者基本信息】 华东师范大学 ， 中国古代文学， 2003， 博士

【摘要】 本课题主要从承传与开拓的宏观视角，对近代戏剧文化的转型作连续性和统一性考察，旨在揭示近代戏剧发生的背景、新变的特征、理论观念、创作规律及舞台实践，从而，在中国戏剧发展史上给近代戏剧以实事求是的定位。 全文从“表演与风格”、“编剧与创作”、“理论与观念”三个方面九个部分进行论述： 引论：近代戏剧的生成及特征。在密切联系生成近代戏剧的政治、经济、地域等因素的同时，在中国近代文化的大背景下，揭示其多方面的特征和贡献。 第一章：戏剧表演风格与审美观念的近代变革。道咸及同光年间，京都剧坛以程长庚为首的前后“三杰”次第崛起，使乾嘉以来以旦角为主要行当、以家庭小戏为主要剧目的乱弹，和以优雅婉丽之声为主要风格的昆曲折子戏日益为人们所不满。以老生为主要行当、以历史大戏为主要剧目、以“喊似雷”之“黄腔”为主要风格的皮黄剧种应运而生并日臻成熟。讲求气势、展露时代心声的表演风格和欣赏观念迅速成为主流。 第二章：延续与变迁：京派与海派。京剧传入上海以后，从经营方式到艺术风格都发生深刻变化。从京剧传入到19世纪末，京、徽、梆子同台竞演、融合汇通，形成南派京剧；20世纪初前后，上海的京剧界人士开始比较自觉地建立和完善自己的艺术风格，明确提出京剧改良的要求，积极介入和参与资产阶级民主革命，海派京剧进入快速发展的时期，渐由附庸而蔚为大国，与“京朝派”分庭抗礼，形成独具魅力的海派艺术。 第三章：传统剧目的新变。本章从近代京剧剧目之来源的宏观角度，着力探讨近代戏剧对传统的继承，以及在融会贯通过程中的开拓创新。其新变特征不仅表现在历史题材的大量发展上，而且更表现在以艺人为中心的编剧体制的形成，以舞台演出为主体剧本型态的确立，以及经过一大批杰出艺人的整理加工与艺术创造，演出“文本”趋于成熟和定型。 第四章：艺人新编历史剧的风行。本章主要探讨艺人历史剧源流及其主题倾向：大众价值观念与艺人历史剧创作；大众审美价值与艺人历史剧创作；类型化倾向在艺人历史剧创作中的极端发展。 第五章：近代时事剧创作的繁盛。鸦片战争以后，内乱外患，一大批先进知识分子，继承以天下为己任的优良传统，直面社会现实，时事剧在沉寂了一百多年以后，又以各种不同的表现方式再度崛起，风行剧坛。近代前期的时事剧作品，大都体现出封建正统道德观念和价值评判标准，且多触及“内乱”，涉及“外患”的作品不多，这与后期时事剧更多地关注“外患”恰好形成鲜明的对照。另一方面，前期时事剧大多局限于传奇杂剧等文人案头剧，后期则包括传奇杂剧、时装京剧、文明新剧等。 第六章：戏曲理论家视野中的近代戏剧观念。处在新旧、中西文化交流的关口，近代戏曲理论家立足传统，以全新的视角，对“戏曲”、“悲剧”、“意境论”、“骈史观”等极具戏曲范畴论性质的戏剧观念进行阐释。 第七章：高台教化、新民救亡与戏剧改良。面对复杂多变的社会矛盾和深重的民族危机，一大批社会革新家倡言戏剧的教化作用，提出戏剧改良主张，在社会思想、审美观念及思维方式等方面推动近代戏剧观念的更新。 第八章：舞台实践观念的开拓与更新。近代戏剧舞台性因素的加强，推动了戏剧表演理论与观念的突破和更新。吴梅推重“场上之曲”，并标举“声歌之道”；齐如山总结“无声不歌，无动不舞”为中国戏曲原理；汪笑侬把戏剧改良行之于舞台实践；新剧理论家倡言新剧改良。 余论：近代戏剧的地位与影响。更多还原

【Abstract】 The present research topic, from the broad perspective of inheritance and exploration, explores the cultural change of contemporary plays continuously and consistently, furthermore, intends to demonstrate such aspects of contemporary plays as their background, updating features, theoretical ideas, creative rules and stage performance. As a result, it realistically sets a standard of contemporary plays in the development of the Chinese contemporary plays.The dissertation covers three aspects (i.e. "performance and style", "playwriting and creation" and "theories and ideas") and nine parts as follows:Introduction: The producing and features of contemporary plays. In close relation to the politics, economy and region in which contemporary plays were produced, the dissertation reveals their various features and contribution in the wide background of the contemporary Chinese culture.Chapter I: The contemporary reform of stage performance style and appraising ideas. During the dynasties of Daoguang, Xianfeng, Tongzhi and Guangxu, people were gradually discontented with the plays of Luantan of which characters were mostly female and acts were about families and the elegantly- tuned Zhezi of Kun plays, both of which were produced in the dynasties of Qianlong and Jiaqing. However, the Pihuang plays, which were characterized by old male characters, historical plays and roaring Huang tune, came into being and had grew perfect ever since. The main stream turned to the vigorous, updating performance style and appraising ideas.Chapter II: Extension and transformation: Beijing opera and Shanghai opera. Beijing opera had deeply changed in its management and artistic style after it was introduced in Shanghai. By the end of the 19th century, southern Beijing opera had originated from the confusion of Beijing opera, Anhui opera and Bangzi play. In the early 20th century, the people in the circle of Beijing opera in Shanghai began to consciously build and consummate their own artistic style, meanwhile, they pointed out the improvement of Beijing opera by participating in bourgeoisie democratic revolution. Consequently, southern Beijing opera in Shanghai grew up quickly and contested with original Beijing opera, thus, developed into its own unique artistic style.Chapter III: The innovation of traditional plays. This chapter intends to discuss the tradition inheriting of contemporary plays and their innovation in view of the origin of Beijing opera’s acts. The innovation is characterized not only by their developing historical subjects and the actor-oriented playwriting system but also by some mature scripts handled by distinguished actors.Chapter IV: The fashion of new historical plays by actors. This chapter deals with the following points: the origin of the historical plays by actors and their subjects’ trends; people’s value judgment and actors’ historical playwriting; people’s aesthetic value and actors’ historical playwriting; the extreme growing of stylizing in actors’ historical playwriting.Chapter V: The prosperity of contemporary plays reflecting current affairs. AfterOpium War, China was in chaos, at the same time, Chinese intellectuals took the responsibility of saving nation. Therefore, the plays reflecting current affairs showed up after more than one hundred years’ disappearance. In the beginning, such plays seldom reflected "external crisis" while most "domestic crisis" and the feudal moralist and value judgment, which contrasted sharply to the late plays concerning "external crisis". On the other hand, the early plays were limited to such subjects as legend while the late included legend, fashion Beijing opera, civilized opera, etc.Chapter VI: Contemporary plays in the eyes of play theorists. At the turn of reform and cultural communication between China and western countries, contemporary play theorists, on the basis of tradition, expound "play", "tragedy", "artistic conception", "history parallelism" etc. from a new point of view.Chapter VII: Moralization, saving the nation from extinc更多还原