【摘要】：從1919到1937年近二十年間,是中國戲曲藝術(shù)開始主動向非華人圈的異文化世界進(jìn)行大力推介,積極尋求世界回應(yīng)與對話的自覺期與高潮期。特定時代思想氛圍中的喧嘩眾聲卻形成了推動、加速戲曲走向更廣闊世界的合力,海外公演、對外書刊中的介紹宣傳和舞臺劇目譯介都超越了以往的規(guī)模和影響。相較于之前古典戲曲經(jīng)典文本域外傳播和海外華人圈中戲曲演出的歷史,這一時期尋求回應(yīng)與對話訴求之主動和強(qiáng)烈,異文化世界介入、發(fā)聲之積極,以及在關(guān)注對象上對當(dāng)下流行劇目、舞臺藝術(shù)層面和劇壇發(fā)展現(xiàn)狀之倚重,也都使得在各種交流對話的互動場域內(nèi),更具現(xiàn)實影響力的言說得以形成。這些圍繞著戲曲藝術(shù)的中外言說,既有著各異的表達(dá)立場與動機(jī),也必然經(jīng)歷了信息傳遞與接收過程中種種有意無意的處理。它們的形成、聚焦、爭鳴與被選擇加工的歷史,不僅反映了多元語境之下,被視為傳統(tǒng)文化代表的戲曲藝術(shù)正在嬗變中的復(fù)雜混合面貌及其背后各種認(rèn)識與思考的斗爭,同時也對戲曲藝術(shù)現(xiàn)代嬗變的歷史進(jìn)程本身產(chǎn)生了深刻的影響,其范圍涵蓋了劇目文本、戲曲文化價值的判斷與定位、實踐層面的舞臺藝術(shù)語匯及其呈現(xiàn),以及戲曲藝術(shù)理論的構(gòu)建和表達(dá)等方方面面。今天我們關(guān)于戲曲傳統(tǒng)觀、戲曲藝術(shù)特征一些看似基本的認(rèn)識,都曾在這樣一個重要的知識生產(chǎn)場域中經(jīng)歷了不乏曲折的塑造。長期以來,除了其中少數(shù)演出事件及其引發(fā)的一部分討論受到關(guān)注之外,這段歷史中還有大量言論尚待挖掘、譯介與整理,如何盡可能全面地回顧梳理這段歷史、盡量客觀地理解其中的歷史之因果,是我們今天在對戲曲藝術(shù)現(xiàn)代化進(jìn)程的反思中無法繞開的一個重要問題。 本論文以“海外推介和中外對話中的戲曲藝術(shù)”為研究對象,結(jié)合社會思想文化史的考察,分析二三十年代戲曲海外推介高潮形成的多重原因,回到20世紀(jì)戲曲藝術(shù)海外推介、交流的第一個自覺期與高潮期的具體歷史情境中來展現(xiàn)代興之際的劇界景觀。同時,挖掘考察此時期關(guān)于戲曲藝術(shù)的推介言論與中外對話,提煉其中的焦點問題,在對言說動機(jī)與接受立場的觀照中,看待這場對話與作為其結(jié)果之一的戲曲藝術(shù)的現(xiàn)代嬗變之間的關(guān)系。在此基礎(chǔ)上,對戲曲近代以來發(fā)展進(jìn)程中的“西方化”、“國粹化”與戲曲的現(xiàn)代性等問題做出回應(yīng),對1919-1937年間戲曲海外推介與交流的影響、歷史意義和價值,做出評價、提出新見。
[Abstract]:From 1919 to 1937, it was the Chinese opera art that began to actively promote the non-Chinese circle of foreign cultures and actively seek the conscious period and high tide of world response and dialogue. However, the noise in the ideological atmosphere of a specific era has formed a force to promote and accelerate the drama to a wider world. The overseas performances, the introduction and propaganda in foreign books and periodicals, and the translation of stage plays have exceeded the scale and influence of the past. Compared with the history of the overseas dissemination of classical opera classics and Chinese opera performances in overseas Chinese circles, this period sought the initiative and intensity of response and dialogue, and the intervention and voice of the foreign cultural world. And the focus on the current popular plays, the stage art level and the current situation of the development of drama, but also in the various exchanges and dialogues in the interactive field, more realistic influence of speech can be formed. These Chinese and foreign sayings, which revolve around the art of drama, have not only expressed different positions and motives, but also experienced a variety of intentional or unintentional processing in the process of information transmission and reception. Their forming, focusing, contending and processing history not only reflect the complex and mixed features of opera art, which is regarded as the representative of traditional culture, but also the struggle of understanding and thinking behind it. At the same time, it also has a profound influence on the historical process of the modern evolution of opera art. Its scope covers the text of drama, the judgment and orientation of the cultural value of opera, the vocabulary of stage art and its presentation at the practical level. And drama art theory construction and expression and other aspects. Today we have experienced some twists and turns in such an important field of knowledge production. For a long time, apart from the attention paid to a few of the performance events and some of the discussions that have been initiated, there are still a large number of comments in this period of history that need to be excavated, translated, introduced and sorted out, and how to review the history as comprehensively as possible. An objective understanding of the historical causality is an important issue that we cannot avoid in the reflection on the modernization of opera art today. This thesis takes "the art of drama in overseas promotion and dialogue between China and foreign countries" as the research object, combining with the investigation of the history of social ideology and culture, analyzes the multiple causes of the climax of overseas promotion of opera in the 1920s and 1930s, and returns to the overseas promotion of the Chinese opera art in the 20th century. The first conscious period of communication and the high tide of the specific historical situation to develop the modern stage of drama landscape. At the same time, excavating and investigating the Chinese and foreign dialogue on the art of drama in this period, refining the focus of the discussion, in the reflection of the motive of speech and the acceptance of the standpoint, Look at the relationship between this dialogue and the modern evolution of opera art as one of its results. On this basis, this paper responds to the problems of "westernization", "nationalization" and the modernity of opera in the development process of modern opera, and evaluates the influence, historical significance and value of overseas promotion and communication of opera from 1919 to 1937. Put forward new ideas.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2012
【分類號】：J809.2

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