戏曲表演程式研究

发布时间：2018-04-25 01:24

本文选题：程式 + 载体表征　；参考：《中国艺术研究院》2012年博士论文

【摘要】：“程式”、“程式化”,随着中国近代历史上中西文化艺术碰撞,并由此引发关于演剧改良思潮,其以“超出了普通语言学的范畴,而以理论语言的姿态进入戏曲理论的园地”(黄克保语),登上了历史的舞台,成为百年来戏曲理论研究中使用率较高的理论词汇和争论的焦点之一。程式问题既是为人熟知的问题,也是一个研究难题。戏曲表演程式研究,以百年来程式重大研究成果梳理的基础上,同样以关注戏曲程式的本质属性为对象,并紧紧围绕着戏曲程式的根本属性展开论述,较详细地探讨戏曲程式必须通过现象才能把握的本质、戏曲表演程式的形成,以及戏曲表演程式建构理论等带有根本性的问题,并由此形成本文的章节结构。第一章“戏曲程式诸说”,将百年来不同历史时期的程式研究历程划分为三个阶段：第一阶段是“五四”新文化运动前后至建国前,尝试对戏曲表演艺术特征的探索和总结。第二阶段是建国至“文化大革命”之前,在特定的历史条件下,人们试图在与斯坦尼斯拉夫斯基、布莱希特演剧体系比较中,建立中国的演剧体系的背景下更多地涉及。第三阶段即伴随着中国改革开放30年,延续中国演剧体系建立的尝试。对早期的张厚载、赵太侔、焦菊隐、洪升,中后期的阿甲、张庚、焦菊隐、黄克保、陈贻亮、陈幼韩和郑传寅等主要的程式研究成果“规矩准绳”说、“拼字说”、“动态形成说”等等进行综述。第二章“戏曲程式之我见”,戏曲程式是戏曲艺术的文化载体表征的总称,其中又包含深厚的文化积淀。广义的戏曲程式是指戏曲艺术物质和精神的所有载体表征。狭义的是指戏曲表演艺术的所有技术技巧。它是戏曲历代艺术家与观赏者共同创造的结果,是区别于其他舞台艺术文化的标志。戏曲程式包含：物质和非物质两种存在方式的戏曲程式。物质的戏曲程式,它使人一眼望去,就能看出戏曲与其他舞台艺术之间的不同；非物质的戏曲程式,是指那些通过物质的戏曲程式体现出来的,客观存在却又无形的戏曲程式,它决定了物质戏曲程式的创造手段、创作方法与呈现样式。戏曲表演程式,既是戏曲程式的核心和主体,又是物质戏曲程式和非物质戏曲程式的纽带和基础。戏曲表演程式既是一个庞大而复杂,且完整的符号体系,也是一个价值观和规范体系,它使戏曲艺术传承有了依托和社会共享成为可能。第三章“戏曲表演程式的形成”,动物学的研究成果向世人表明,当人从猿四肢行走蜕变成两腿行走的时候,戏曲表演程式文化基因,就已经基本奠定了,并随戏曲表演艺术的形成而成为艺术的本质特征,至今未变。如：1、核心的文化基因：演员与观众的观演性。2、本质的文化基因：情感的艺术表现性。3、本色的文化基因：原始歌舞表演的综合性。4、本能的文化基因：传情达意的实用功能性。以巫为表演主体的“乐”文化的种种表现,可以说当世戏曲艺术与“乐”文化艺术是一脉相传。因此,巫的诞生,不仅标志着职业化戏曲演员的诞生,同时也标志着戏曲表演艺术与表演程式的共生。第四章“戏曲表演程式建构理论”,主要是由宇宙观、创作观、审美观三者所构成的戏曲表演艺术演剧观为主体。“天人合一”建构的是戏曲艺术的宇宙观,“一阴一阳”建构的是戏曲艺术对本体的认知,而“圆”则是建构艺术本体运动的理论基础。就创作而言,“观”是“立象”的基础,而“尽意”则是“立象”的终极目标,“意象”则是以“六书”方法为最基本的构成方法。“穷则变,变则通,通则久”建构了戏曲艺术审美世界的发展规律,“乐而不淫,哀而不伤”是变的审美标准,而“大音希声、大象无形、道隐无名”则是戏曲表演审美的最高境界。当戏曲表演程式文化,成为戏曲创作者的一种艺术文化信仰时,人们便会将其内置成一种文化的自觉,贯穿于思想和行为当中,成为意识与行为的规范,并在艺术创作实践中自然而然的流露与表现出来,成为一种习惯、一种风俗,一种文化。不同的艺术信仰,不同的艺术文化所产生的艺术表现也是不同的。
[Abstract]:"Program" and "stylized", with the collision of Chinese and Western culture and art in modern Chinese history, and thus triggering the ideological trend of opera improvement, which is "beyond the category of ordinary linguistics, and into the garden of the theory of opera with the attitude of theoretical language" (Huang Kebao), has been on the stage of history, and has become a study of the theory of opera for a hundred years. The theoretical vocabulary and the focus of debate are highly used. Procedural problems are both well-known and difficult.
On the basis of a hundred years of major research results, the study of the opera performance program also focuses on the essential attributes of the opera program, and focuses on the fundamental properties of the opera program, and discusses in detail the essence of the grip, the formation of the opera performance program, and the play of the opera program. There are some fundamental problems in the construction of the program and the formation of the chapter structure.
The first chapter, "the theory of Chinese opera," divides the course of research in different historical periods into three stages: the first stage is the exploration and summary of the artistic features of the opera performance before and after the "54" new culture movement to the founding of the people's Republic. The second stage is the specific historical conditions before the founding of the people's Republic of China to the "Cultural Revolution". Under the background of the comparison with Stanislavski and Bly Hitt's drama system and the setting up of the Chinese opera system, the third stage is an attempt to continue the establishment of the Chinese opera system with the reform and opening up of China for 30 years. To the early Zhang Houzai, Zhao Taimou, Jiao Juyin, Hong Sheng, the Ajia, Zhang Geng in the middle and late stages of the drama. Jiao Juyin, Huang Kebao, Chen Yiliang, Chen Youhan and Zheng Chuanyin are the main results of the program research, such as "rule of law", "spelling", "dynamic formation", and so on.
The second chapter "I see the opera program", the opera program is the general name of the cultural carrier of the opera art, which also contains the profound cultural accumulation. The broad sense of the opera is the representation of all the carriers of the art and spirit of the opera. The result of the common creation is the symbol of the difference between the other stage art and culture. The opera program consists of two modes of existence, material and non material. The drama program of material can make one see the difference between the opera and other stage art; the non material opera program means those who pass through the material. The opera program embodies the traditional opera program which is objective but invisible. It determines the creation means, the creation method and the presentation style of the physical opera program. The opera performance program is both the core and the main body of the opera program, as well as the link and foundation of the physical opera and the non material opera. The opera performance program is both a pang A large, complex and complete symbol system is also a system of values and norms. It makes it possible for traditional Chinese opera to be inherited and shared by society.
The third chapter "the formation of the opera performance program", the research results of zoology show that when people walk from the apes' limbs to the legs, the culture gene of the opera performance program has been basically laid, and it has become the essential feature of the art with the formation of the opera performance. For example, 1, the core cultural base. The performers and the audience's.2, the essential cultural gene: the artistic expressive.3 of the emotion, the original cultural gene, the comprehensive.4 of the original singing and dancing performance, the instinctive cultural gene: the practical functional nature of the feeling of love, and the various manifestations of the "music" culture with the witch as the main body of the performance, can be said that the art of contemporary opera and the "music" culture Art is passed down from one source to another. Therefore, the birth of witchcraft not only marks the birth of professional opera performers, but also marks the symbiosis between performing arts and performing programs.
The fourth chapter, "the theory of the construction of the opera performance program", mainly consists of the opera performance view of the opera performance made up of the universe view, the creation view and the aesthetic view. "The unity of heaven and man" constructs the cosmos view of the opera art, and the construction of "one Yin and one Yang" is the cognition of the opera art to the body, while the circle is the construction of the art noumenon. On the basis of the theory of movement, "view" is the basis of "standing image", and "meaning" is the ultimate goal of "standing image", and "image" is the most basic form of "six books" method. "Poor is changed, changed rules and long rules" constructed the law of the development of the aesthetic world of the opera art. "Is the aesthetic standards change, and" the great form is beyond shape, Tao great music has the faintest notes, hidden and unknown "is the highest realm of aesthetic opera performances.
When the opera performance culture is a kind of artistic and cultural belief of the creator of the opera, people will put it into a kind of cultural consciousness, which runs through the thought and behavior, becomes the norm of consciousness and behavior, and naturally reveals and appears in the practice of artistic creation, and becomes a habit, a custom, a culture. Different artistic beliefs and different artistic cultures produce different artistic expressions.

【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2012
【分类号】：J812

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