民族艺术研究
民族藝術研究
민족예술연구
Ethnic Art Studies
2015年
3期
32~38
,共null页
文化传统 当代戏剧 戏改 张庚
文化傳統 噹代戲劇 戲改 張庚
문화전통 당대희극 희개 장경
cultural traditions; contemporary drama; the Opera Reform; Zhang Geng
贾志刚提出中国戏剧有三种传统。三种传统更精确的表达应该是：从宋元至今一千年形成的古典戏剧传统、20世纪上半叶在都市剧场演出中形成的现代戏剧传统、1949—1966年的＂十七年＂里形成的当代戏剧传统。对传统戏的整理、加工和修改并形成的优秀剧目及其表演形制,是中国戏剧第三传统的核心。但＂十七年＂有其复杂性,＂戏改＂留下了大量优秀的经典剧目,同时更多优秀传统剧目及其各具特色的表演方法因＂戏改＂失传;普遍存在粗暴对待传统戏剧的极左倾向,又始终存在在保护传统方面以张庚为代表的戏曲理论家持续不断的纠偏努力。因此,我们必须完整地理解与把握戏曲的第三传统。
賈誌剛提齣中國戲劇有三種傳統。三種傳統更精確的錶達應該是：從宋元至今一韆年形成的古典戲劇傳統、20世紀上半葉在都市劇場縯齣中形成的現代戲劇傳統、1949—1966年的＂十七年＂裏形成的噹代戲劇傳統。對傳統戲的整理、加工和脩改併形成的優秀劇目及其錶縯形製,是中國戲劇第三傳統的覈心。但＂十七年＂有其複雜性,＂戲改＂留下瞭大量優秀的經典劇目,同時更多優秀傳統劇目及其各具特色的錶縯方法因＂戲改＂失傳;普遍存在粗暴對待傳統戲劇的極左傾嚮,又始終存在在保護傳統方麵以張庚為代錶的戲麯理論傢持續不斷的糾偏努力。因此,我們必鬚完整地理解與把握戲麯的第三傳統。
가지강제출중국희극유삼충전통。삼충전통경정학적표체응해시：종송원지금일천년형성적고전희극전통、20세기상반협재도시극장연출중형성적현대희극전통、1949—1966년적＂십칠년＂리형성적당대희극전통。대전통희적정리、가공화수개병형성적우수극목급기표연형제,시중국희극제삼전통적핵심。단＂십칠년＂유기복잡성,＂희개＂류하료대량우수적경전극목,동시경다우수전통극목급기각구특색적표연방법인＂희개＂실전;보편존재조폭대대전통희극적겁좌경향,우시종존재재보호전통방면이장경위대표적희곡이론가지속불단적규편노력。인차,아문필수완정지리해여파악희곡적제삼전통。
Abstract ：Jia Zhigang, the deputy director there are three dramatic traditions formed in as： the classical dramatic tradition shaped of the Xiqu institute at Chinese Academy of Arts, argues that the advance of Chinese drama, which can be described precisely in the last millennium from Song dynasty till now; the modem dramatic tradition formed in the urban theaters in the upper half of 20th century ; and the contemporary dra- matic tradition developed in the Seventeen Years from 1949 to 1966. Among them, the collating, polishing and adaption of the traditional pieces of Chinese opera constituted the core content of the third tradition, which puts forth a good number of excellent repertoires; and has process. Yet, despite the excellent repertoires left in the Opera shaped a new performing pattern in the Reform in the Seventeen Years, we should face up to the complexities of the ＂Seventeen Years＂, as numerous traditional pieces alongside with their distinctive performing method have lost heritage in the Opera Reform, for the ubiquitous oversimplification and over- correction existed in the reform process due to the ultra the dissenting voices represented by the drama theoretician such as - left thoughts ; meanwhile, there existed Zhang Geng, that took effort to preserve the traditional culture. For these two ideological trends tangled together to complicate the natural progression of Chinese drama, a thorough and comprehensive understanding of the third tradition of Chinese opera is in desperate need.
