戏曲舞台现代叙述方式的导演探索与建构
发布时间：2019-02-18 08:49
【摘要】：有别于传统,甚或古典,同时又承续其本体精神的“戏曲舞台现代叙述方式”,是以理解和适应现代(当代)观众的审美需求为出发点和归宿点,通过“纵向继承”和“横向借鉴”的途径对各种艺术资源进行甄别、筛选与有效融合的产物。其不仅具备与时俱进的“开放”与“兼容”姿态,具有综合程度更强的艺术表现力,也拥有保证舞台演出实现整体性艺术要求的主创团队。由于题材内容的变化、文本体制的演进、舞台形态的更迭、观众审美取向的转换等综合因素的共同作用,使得“戏曲舞台现代叙述方式”的探索与建构成为了一种不可避免的历史必然。历史与时代对中国戏曲提出这一要求的同时,也为其创造并提供了相应的可能:戏曲艺术本身即具备随历史进步而不断发展变化的特性,同时,两次国门打开为其提供了理论参考,科技的日新月异为其提供了物质准备,而新中国政府对戏曲的重视及相关“戏改”政策更为其提供了政治保障和外力支持。因为导演的自身能力,曾经的历史明证以及相应观念的形成等缘由,所以,“戏曲舞台现代叙述方式”探索与建构的重任,便有选择地落在了“导演”的身上。由此,所谓“戏曲舞台现代叙述方式的导演探索与建构”,也即成为本文所要研究与探讨的内容。由于主、客观,内部、外界,自身、社会等多方因素的共同结果,原本分属两个不同审美系统、遵循不同美学原则、具有不同创作思维、运用不同方法手段和追求不同审美效果的戏曲导演和话剧导演,共同构成了“戏曲舞台现代叙述方式”的探索与建构主体。从上世纪三、四十年代延安时期“推陈出新”的初步尝试开始,经上世纪“改革开放”后八、九十年代的“全面探索”,直至新世纪以来的“整合回归”,“戏曲舞台现代叙述方式的导演探索与建构”历经了三个不同的历史时期,呈现出了具有鲜明时代特色的创作风貌,也相应地暴露出了不同的问题。从上述三个阶段,长达近百年的探索与建构过程中,本文总结归纳出了“继承传统精神与开拓现代品格”、“关注‘一度’文本与统筹‘二度’舞台”和“把握‘赛场’与抓住‘市场’”等三组具有对立统一关系和规律的“多维观照”之创作经验。如同任何事物都具有其两面性一样,“戏曲舞台现代叙述方式的导演探索与建构”同样有其积极的、值得称道的一面,也有其消极的、引人深思的一面。本文以为,由于“戏曲舞台现代叙述方式”与时俱进、开放包容的艺术特征,所以,关乎此项内容的导演探索与建构,也依旧还在路上。同时,这一探索与建构也将永远处于“继承传统”与“开拓创新”的相互影响、相互制约的两难与纠葛中。但无论如何,观众,永远都应该是探索与建构最重要的检验标准。
[Abstract]:The modern narrative mode of the stage of opera, which is different from the tradition, or even classical, but also inherits its Noumenon spirit, is based on understanding and adapting to the aesthetic needs of the modern (contemporary) audience as its starting point and destination. Through the way of "vertical inheritance" and "horizontal reference", the article discriminates various artistic resources, and selects the products of effective integration. It not only has the attitude of "open" and "compatible" with the times, but also has the creative team to guarantee the stage performance to realize the whole artistic requirement. Due to the change of the subject matter, the evolution of the text system, the change of the stage form, the transformation of the audience's aesthetic orientation, and so on, It is an inevitable historical necessity to explore and construct the modern narrative mode of opera stage. History and times put forward this request to Chinese opera, but also created and provided the corresponding possibility for it: opera art itself has the characteristics of continuous development and change with the progress of history, at the same time, The opening of two national doors provides a theoretical reference, the rapid development of science and technology provides material preparation for it, and the new Chinese government pays more attention to the opera and the related "drama reform" policy to provide political security and external support. Because of the director's own ability, historical proof and the formation of corresponding ideas, the important task of exploring and constructing the modern narrative mode of the stage of drama falls selectively on the body of "director". Thus, "the exploration and construction of modern narrative mode of opera stage" has become the content of this paper. Because of the common result of many factors, such as subjective, objective, internal, external, self, society and so on, they originally belonged to two different aesthetic systems, followed different aesthetic principles, and had different creative thinking. Using different methods and means and pursuing different aesthetic effects, opera director and drama director constitute the exploration and construction subject of "modern narrative mode of opera stage". Starting from the initial attempt to "bring forth the old and bring forth new" in the Yan'an period in the 1930s and 1940s, after the "reform and opening up" of the last century, the "all-round exploration" in the 1980s and 1990s, and until the "integration and return" since the new century, The exploration and construction of the modern narrative mode of the opera stage has experienced three different historical periods, showing the creative style and features with distinct characteristics of the times, and exposing different problems accordingly. From the above three stages, nearly 100 years of exploration and construction process, this paper summarizes the "inheriting the traditional spirit and opening up the modern character". "pay attention to the 'once' text and coordinate the 'second stage'" and "grasp 'the competition field" and "seize the market" three groups with the unity of opposites and laws of the creation of the "multidimensional view" experience. As anything has its dual character, "the exploration and construction of the modern narrative mode of the opera stage" also has its positive, praiseworthy side, as well as its negative and thought-provoking side. The author thinks that because the modern narrative mode of the opera stage keeps pace with the times and the artistic characteristics of openness and tolerance, the exploration and construction of the director concerned with this content is still on the way. At the same time, this exploration and construction will always be in the dilemma and dispute of "inheriting tradition" and "pioneering innovation". But in any case, the audience should always be the most important test of exploration and construction.
【学位授予单位】：上海戏剧学院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J811
本文编号：2425689
[Abstract]:The modern narrative mode of the stage of opera, which is different from the tradition, or even classical, but also inherits its Noumenon spirit, is based on understanding and adapting to the aesthetic needs of the modern (contemporary) audience as its starting point and destination. Through the way of "vertical inheritance" and "horizontal reference", the article discriminates various artistic resources, and selects the products of effective integration. It not only has the attitude of "open" and "compatible" with the times, but also has the creative team to guarantee the stage performance to realize the whole artistic requirement. Due to the change of the subject matter, the evolution of the text system, the change of the stage form, the transformation of the audience's aesthetic orientation, and so on, It is an inevitable historical necessity to explore and construct the modern narrative mode of opera stage. History and times put forward this request to Chinese opera, but also created and provided the corresponding possibility for it: opera art itself has the characteristics of continuous development and change with the progress of history, at the same time, The opening of two national doors provides a theoretical reference, the rapid development of science and technology provides material preparation for it, and the new Chinese government pays more attention to the opera and the related "drama reform" policy to provide political security and external support. Because of the director's own ability, historical proof and the formation of corresponding ideas, the important task of exploring and constructing the modern narrative mode of the stage of drama falls selectively on the body of "director". Thus, "the exploration and construction of modern narrative mode of opera stage" has become the content of this paper. Because of the common result of many factors, such as subjective, objective, internal, external, self, society and so on, they originally belonged to two different aesthetic systems, followed different aesthetic principles, and had different creative thinking. Using different methods and means and pursuing different aesthetic effects, opera director and drama director constitute the exploration and construction subject of "modern narrative mode of opera stage". Starting from the initial attempt to "bring forth the old and bring forth new" in the Yan'an period in the 1930s and 1940s, after the "reform and opening up" of the last century, the "all-round exploration" in the 1980s and 1990s, and until the "integration and return" since the new century, The exploration and construction of the modern narrative mode of the opera stage has experienced three different historical periods, showing the creative style and features with distinct characteristics of the times, and exposing different problems accordingly. From the above three stages, nearly 100 years of exploration and construction process, this paper summarizes the "inheriting the traditional spirit and opening up the modern character". "pay attention to the 'once' text and coordinate the 'second stage'" and "grasp 'the competition field" and "seize the market" three groups with the unity of opposites and laws of the creation of the "multidimensional view" experience. As anything has its dual character, "the exploration and construction of the modern narrative mode of the opera stage" also has its positive, praiseworthy side, as well as its negative and thought-provoking side. The author thinks that because the modern narrative mode of the opera stage keeps pace with the times and the artistic characteristics of openness and tolerance, the exploration and construction of the director concerned with this content is still on the way. At the same time, this exploration and construction will always be in the dilemma and dispute of "inheriting tradition" and "pioneering innovation". But in any case, the audience should always be the most important test of exploration and construction.
【学位授予单位】：上海戏剧学院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J811
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