【作者】 毛忠；

【导师】 邹元江；

【作者基本信息】 武汉大学 ， 戏剧戏曲学， 2004， 硕士

【摘要】 徐慕云的《中国戏剧史》是中国戏曲美学研究的视角由文本向舞台转移的标志之一，它不仅大大开拓了戏曲研究的领域，而且为我们探寻戏曲艺术的本体这一重要美学问题提供了新的视角。《中国戏剧史》将戏曲史研究的焦点集中在演员身上，这更贴近于戏曲艺术的本体，在一定程度上弥补近代以来的戏曲史忽视演员的不足。而在观念上，则对重建表演意义上的戏曲史具有重要的启发意义。 徐慕云的“戏曲”概念首先是一个表演艺术的概念，它拓展了王国维“戏曲”概念的外延，将“戏曲”和话剧都作为“戏剧”的重要的组成部分，这对重新确立“戏剧”的概念具有新的启示意义。徐慕云将戏曲艺术的美学特征概括为“歌舞并重，传神写意”。相对于其他研究者的论述，徐慕云不仅仅注意到戏曲艺术的外在特征，还注意从内在特征来分析外在特征的根源，这就使徐慕云对戏曲的美学特征的把握是一种动态的，而非文献的，这更为准确地抓住了戏曲艺术的整体美学特征。徐慕云戏剧美学思想的核心是对戏曲本体的思考，而这一点更集中地体现在他对中西戏剧本质的比较上。一方面徐慕云是将中西戏剧放在一个平等的坐标系中来比较，另一方面徐慕云试图通过中西戏剧的比较，先找出两者的本质差异，然后在把握戏曲的本质特征的基础上，向西方的先进戏剧学习，以改进戏曲的落后之处。这两方面正是当代戏曲改革中值得注意的问题。更多还原

【Abstract】 The History of Chinese Drama written by Xu Mu-yun represents the change of emphasis from text to stage on Chinese aesthetics study. It expands the territory of the study on Chinese traditional opera, and provides us a new optical angle of finding the essence of this art form. The History of Chinese Drama focus on the character of actor in drama aesthetics which has tighter relationship with the essence of drama, and correct the ignorance of the character of actor in the study on the modern history of Chinese traditional drama in 20’s. It has very important developmental meaning as a concept on the reconstruction of drama history according to performance.The concept of "Chinese traditional opera" should be a concept of performance at first, it expands the extension of the concept of "Chinese traditional opera" and regard "Chinese traditional opera" and modern drama as important parts of "drama". This change has great developmental meaning of reconstructing the concept of "drama". Xu Mu-yun generalizes the feature of art aesthetics of traditional opera as "The equal importance of singing and dancing to deliver the spirit of art". Compare Xu Mu-yun’s research with other scholar’s research, he noticed not only the outside feature but also the inside feature by studying on inside feature. This makes his understanding of traditional opera aesthetics dynamic not only according to text, this understanding is closer to the truth of aesthetics feature of drama. The core of Xu Mu-yun’s aesthetics thought is the thought of the essence of traditional opera which is clearly shown on his comparing with Chinese and foreign drama’s essence. First Xu Mu-yun puts them in the same level, then he compares them to find the differences of their essence. In this way we can study the advanced drama of foreign country to correct the merit of ours on the base of understanding the essence feature of traditional opera. These two aspects are the most important problem in the revolution of Chinese traditional opera.更多还原