【摘要】：傳統(tǒng)文化記載著中華文明的足跡,戲曲藝術包含了上下五千年文化的精粹,展現(xiàn)著中華文化的燦爛榮光。穿越古今,戲曲藝術來到當代,在文化復興的背景下,尋找適合自身最佳的生存發(fā)展之路�！八囆g的創(chuàng)新,其實在很長的時間里都難有一個完整的判斷,也容易招致行內專家的批評�！盵1]可見,戲曲藝術的創(chuàng)新之路荊棘叢生,作品的好壞難以在當下獲得定論,面對褒貶不一的言論,藝術家并沒有止步不前,他們大膽地進行實踐、探索與總結,很多時候并無功利性目的。解構的新變形態(tài)在當代戲曲藝術的新變現(xiàn)象中具有典型性,推動戲曲藝術的發(fā)展與創(chuàng)傷戲曲藝術的本體,矛盾地存在于這一現(xiàn)象中,這一矛盾是多數(shù)戲曲創(chuàng)新手段共同面臨的問題,只有以辯證的眼光來分析、總結當下的戲曲解構現(xiàn)象,才能摸索到戲曲藝術正確的發(fā)展軌道,避免方向性錯誤。近二三十年中國古典戲曲理論越來越受到大家重視,闡釋古典戲曲理論的著作出版了多種,但與當前的戲曲創(chuàng)作實踐結合得還很不夠,對于西方戲劇理論我們不應該排斥,而應該認真學習、借鑒,同時更應該看到中國的戲曲理論更符合中國戲曲的創(chuàng)作。中國戲曲理論的成長與西方文藝理論是息息相關的,古典戲曲理論固根保本,西方理論在實踐中不斷創(chuàng)新戲曲載體,取其精華,去其糟粕,二者相輔相成,才能共同促進當代戲曲的繁榮。本論文以解構主義視角觀照中國戲曲,筆者認為戲曲解構現(xiàn)象是在尊重本體的前提下,運用現(xiàn)代意識打破傳統(tǒng),打破原有的內在秩序,將戲曲的元素拆分、獨立出來進行再創(chuàng)作,同時吸收其他舞臺藝術的精髓,重構出具有現(xiàn)代特色藝術風貌的表演,并重新搬上舞臺。詳細來說,第一章是關于解構主義的解讀,主要論述解構主義的興起與界定,解構現(xiàn)象在各藝術領域的表現(xiàn),并詳細論述解構主義與戲曲藝術碰撞的時代性與必然性;第二章是分析解構主義視角下戲曲藝術的新變形態(tài),在大量收集與考察的基礎上,分析解構現(xiàn)象的典型案例。戲曲藝術的三大特性是它被“解構”的前提條件之一,符號化的戲曲元素是解構現(xiàn)象中最常見的拆分元素,帶有濃厚的后現(xiàn)代色彩,經過從整體的“剝離與成形”、“解構與重構”,并加以“戲曲化”,才能更符合戲曲藝術的內在本質;第三章是戲曲解構現(xiàn)象的作用及影響。分別從“爭論、創(chuàng)新、發(fā)展”三個方面闡釋“多樣呈現(xiàn)、創(chuàng)新發(fā)展”的發(fā)展手段與方式,從這一現(xiàn)象對戲曲藝術繼承與發(fā)展產生地積極推動作用、負面消極影響兩個方面辯證地分析當代戲曲解構現(xiàn)象所呈現(xiàn)的“利弊互現(xiàn)、爭執(zhí)向前”局面;第四章是解構主義理論對于戲曲藝術的研究價值。一是在前三章的寫作中萌生的主觀看法,二是研究過程中的見證與成長。戲曲美學是研究戲曲藝術美的特征、規(guī)律及其創(chuàng)作和審美的學科,它以哲學為基礎,運用藝術學、心理學、文化學等多個學科的成果,對創(chuàng)作主體、現(xiàn)實客體、藝術本體、接受主體等諸多方面構成的審美關系、審美原則、審美特征和審美規(guī)律等重要問題進行研究。本論文重視歷史,尊重客觀事實,堅持美學批判的立場,從美學理論角度入手對戲曲舞臺藝術的美學特征進行綜合和整體的研究;堅持理論與實踐相結合,查閱大量文獻資料,將解構主義理論、戲曲美學理論及戲曲藝術實踐相結合,相互生發(fā)印證,避免純理論化和純作品研究的傾向;結合邏輯與歷史相統(tǒng)一的方法,既注重戲曲傳統(tǒng)美學研究對當時及后世的影響,又遵循正確的藝術規(guī)律,研究解構主義理論與戲曲藝術的有機結合,以獲得更為全面、深刻的理論認知。通過對戲曲解構現(xiàn)象的研究,筆者認為在視覺文化逐漸受到大眾追捧的環(huán)境下,“解構”的手段雖不一定可行,但不得不承認這些新變形態(tài)使戲曲在觀看上化難為易,打開大多數(shù)觀眾接受、理解戲曲藝術的大門,對普及戲曲知識、繼承與發(fā)展戲曲開拓了一條新路,對戲曲改革有一定的指導意義,并能為其他藝術形式的發(fā)展提供些許的參考與借鑒。
[Abstract]:Traditional culture records the footprints of Chinese civilization. Traditional opera art contains the quintessence of 5000 years of Chinese culture and shows the splendor of Chinese culture. A complete judgment is easy to be criticized by experts in the field. "[1] It can be seen that the road of innovation in the art of traditional Chinese opera is full of thorns, the quality of works is difficult to get a final conclusion at present, in the face of different praises and criticisms, artists have not stopped, they boldly practice, explore and summarize, and in many cases there is no utilitarian purpose. The new transformation is typical in the new changes of contemporary opera art. The contradiction between the development of opera art and the noumenon of traumatic opera art exists in this phenomenon. This contradiction is a common problem faced by most of the innovative means of opera. Only through dialectical analysis and summary of the current deconstruction of opera can we achieve this goal. In the past twenty or thirty years, more and more attention has been paid to the theory of Chinese classical opera, and many works have been published to explain the theory of classical opera. However, the combination with the current practice of opera creation is not enough. We should not repel the theory of Western drama, but should be serious about it. The growth of Chinese opera theory is closely related to western literary and artistic theory. Classical opera theory is rooted in preservation. Western theory constantly innovates the carrier of opera in practice, takes its essence and removes its dross. Only when the two complement each other can they promote together. The prosperity of contemporary opera. This paper examines Chinese opera from the perspective of deconstruction. The author believes that deconstruction is to break the tradition, break the inherent order, separate the elements of the opera and re-create them independently, absorb the essence of other stage art, and reconstruct the original form of deconstruction on the premise of respecting the noumenon. In detail, the first chapter is about the interpretation of deconstruction, mainly on the rise and definition of deconstruction, deconstruction phenomena in various fields of art performance, and a detailed exposition of deconstruction and opera art collision of the times and inevitability; the second chapter is the analysis of deconstruction Perspective On the basis of collecting and investigating a large number of typical cases of deconstruction, this paper analyzes the new deformation of the art of Xiajiao Opera. The three characteristics of the art of traditional Chinese opera are one of the prerequisites for its deconstruction. Symbolized elements of traditional Chinese opera are the most common elements of deconstruction, with a strong post-modern color, which are stripped from the whole. Only by separating and forming, deconstructing and reconstructing, and "operatizing", can we be more in line with the intrinsic nature of opera art; the third chapter is the function and influence of the deconstruction phenomenon of opera. The fourth chapter is the value of deconstruction theory in the study of the art of drama. First, the subjective views sprouted in the writing of the first three chapters, and second, the research process. Drama aesthetics is a subject which studies the characteristics, laws and creation and aesthetics of the artistic beauty of drama. It is based on philosophy and utilizes the achievements of many disciplines such as art, psychology and culture to study the aesthetic relationship, aesthetic principles and characteristics of the subject of creation, realistic object, artistic noumenon, acceptance subject and so on. This thesis pays attention to the history, respects the objective facts, insists on the aesthetic criticism standpoint, carries on the comprehensive and overall research to the aesthetic characteristics of the stage art of drama from the aesthetic theory angle, insists on the combination of theory and practice, consults a large number of literature materials, and will deconstruct the theory and the aesthetic theory of drama. This paper discusses the combination of traditional Chinese opera art practice and mutual proof, avoiding the tendency of pure theory and pure works research; combines the method of logical and historical unity, pays attention to the influence of traditional Chinese opera aesthetics research on the time and future generations, and follows the correct artistic law, studies the organic combination of deconstruction theory and traditional Chinese opera art, in order to obtain more. Through the study of the deconstruction phenomena of traditional Chinese operas, the author thinks that although the means of deconstruction are not necessarily feasible in an environment where visual culture is gradually popular with the public, they have to admit that these new transformations make it difficult to watch operas, open the door for most viewers to accept and understand the art of traditional Chinese operas. It has opened up a new way for popularizing the knowledge of opera, inheriting and developing opera, has certain guiding significance for the reform of opera, and can provide some reference for the development of other art forms.
【學位授予單位】：山東藝術學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J805

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