【摘要】：1912年到1949年,中國社會(huì)、思想急劇變化,古代“劇學(xué)”觀念與新文化運(yùn)動(dòng)、國劇運(yùn)動(dòng)、新國劇運(yùn)動(dòng)交集碰撞,使得戲曲理論研究產(chǎn)生了兩個(gè)完全不同的參照,作為戲曲領(lǐng)域最為活躍的京劇表演藝術(shù)承載了民國時(shí)期戲曲研究的主要任務(wù)。一方面,古代“劇學(xué)”觀念到民國時(shí)期繼續(xù)發(fā)展將京劇表演理論推送至“劇學(xué)”的中心,京劇表演理論研究是民國時(shí)期“劇學(xué)體系”發(fā)展的重要特征；另一方面,橫跨中西兩大文化語境下的京劇表演理論研究悄然融入到了“劇學(xué)論爭”的背景之下,傳統(tǒng)戲曲研究的純學(xué)術(shù)的藝術(shù)探討和消閑式藝術(shù)欣賞逐漸讓位于對(duì)表演藝術(shù)政治意義、教育作用和社會(huì)功能的論爭。因此,在五四后的“劇學(xué)”與古代“劇學(xué)”兩個(gè)“劇學(xué)”的作用下,民國時(shí)期京劇表演理論研究表現(xiàn)為始終在中西方戲劇理論的對(duì)立中,在新與舊、雅與俗、變與不變的討論中尋找、回答戲曲舞臺(tái)性的諸多問題。在雙重背景下,研究者以全新的視角闡釋京劇的舞臺(tái)實(shí)踐理念,賦予京劇表演理論獨(dú)特的風(fēng)貌。出現(xiàn)了針對(duì)于某個(gè)或某類演員藝術(shù)特色的專項(xiàng)研究、對(duì)京劇表演技能的獨(dú)立研究,以及對(duì)服裝、化妝等輔助舞臺(tái)表演的研究,并且在以上具體研究之余,有關(guān)表演美學(xué)的研究取得了突破性的進(jìn)展,有關(guān)京劇表演研究成果的反思也進(jìn)入了理論視野。從研究內(nèi)容、研究主體、研究方法幾方面考量,這一時(shí)期的京劇表演理論研究更多采取中西比較法,開始京劇表演美學(xué)精神的探索,并且對(duì)學(xué)術(shù)概念進(jìn)行清晰科學(xué)的厘定,這一過程不僅有文人的參與,還包含著藝人在與文人的良好互動(dòng)及自我審視后完成的理論貢獻(xiàn),藝人與文人的文化認(rèn)同與實(shí)踐契合,合力創(chuàng)造了京劇舞臺(tái)藝術(shù)的鼎盛,帶動(dòng)表演理論向?qū)W理性方向發(fā)展,這是表演理論研究的主要特征。民國京劇表演理論相伴于京劇表演藝術(shù)的鼎盛時(shí)期而得到空前發(fā)展,對(duì)當(dāng)代戲曲表演理論的深化和體系構(gòu)建創(chuàng)造了良好的基礎(chǔ),但是理論成果缺乏系統(tǒng)性、科學(xué)性,意識(shí)形態(tài)和西方話劇理論對(duì)京劇理論造成的深刻影響,桎梏了京劇表演理論體系的構(gòu)建,這是民國時(shí)期京劇表演理論發(fā)展受到局限的深刻原因,同時(shí)也為當(dāng)下京劇表演理論研究的推進(jìn)和深化創(chuàng)造了契機(jī)。
[Abstract]:From 1912 to 1949, Chinese society, thought changed dramatically, ancient "dramatist" concept and New Culture Movement, National Opera Movement, New National Opera Movement intersected and collided, resulting in two completely different references in the study of opera theory. As the most active performing art of Peking Opera in the field of opera, it carried the main task of opera research in the period of the Republic of China. On the one hand, the concept of "drama" in ancient times continued to develop in the period of the Republic of China and pushed the performance theory of Peking Opera to the center of "drama science". The study of the performance theory of Peking Opera was an important feature of the development of "drama system" in the period of the Republic of China. On the other hand, the theoretical study of Beijing Opera performance, which straddles the cultural context between China and the West, is quietly integrated into the background of "drama controversy". The pure academic artistic exploration and leisure art appreciation of traditional opera research gradually give way to the debate about the political significance, educational function and social function of performing arts. Therefore, under the action of "drama" after the May 4th Movement and "drama science" in ancient times, the study of Beijing opera performance theory in the Republic of China was always in the antagonism of Chinese and western theatrical theories, in the new and old, elegant and vulgar. Change and invariance in the discussion, to answer the drama stage nature of a number of questions. Under the dual background, the researcher interprets the stage practice idea of Beijing Opera from a new angle, and gives Beijing Opera the unique style and appearance of the performance theory. There has been a special study of the artistic characteristics of an actor or a class of actors, an independent study of the performing skills of Beijing Opera, and a study of auxiliary stage performances such as clothing, makeup, and so on, and in addition to the above specific studies, A breakthrough has been made in the study of performing aesthetics, and the reflection on the achievements of Beijing Opera performance has also entered the theoretical field of view. Considering the contents, subjects and methods of the study, the performance theory of Peking Opera in this period adopted the Chinese and Western comparative methods, and began to explore the aesthetic spirit of Beijing Opera performance, and made a clear and scientific determination of the academic concept, and made a clear and scientific determination of the academic concept, and made a clear and scientific determination of the academic concept. This process involves not only the participation of the literati, but also the theoretical contributions made by the artists after their good interaction with the literati and self-examination. The cultural identity and practice of the artists and the literati fit together to create the prosperity of the stage art of Beijing Opera. It is the main characteristic of the performance theory research to drive the performance theory to the direction of academic rationality. The performing theory of Beijing Opera of the Republic of China has been developed at the peak of the performing arts of Beijing Opera. It has created a good foundation for the deepening of the theory of contemporary opera performance and the construction of the system. However, the theoretical achievements lack of systematicness and scientificalness. The profound influence of ideology and western drama theory on Beijing opera theory shackles the construction of Beijing opera performance theory system, which is the profound reason why the development of Beijing opera performance theory was limited in the period of the Republic of China. At the same time, it also creates an opportunity for the promotion and deepening of the present study of Beijing Opera performance theory.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J821
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本文編號(hào)：2466664