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題 名 | 中國戲曲表演形神論--「戲曲體驗論」與「寫意戲劇觀」的路徑=On Xing and Shen in the Performance of Chinese Traditional Theatre--The Approaches of Experience and Ideography |
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作 者 | 李季紋; | 書刊名 | 戲劇學刊 |
卷 期 | 3 民95.01 |
頁 次 | 頁63-83 |
分類號 | 982 |
關鍵詞 | 形神論; 戲曲表演; 寫意戲劇觀; 體驗派; 表現派; Xing and Shen; Performance of Chinese traditional theatre; Ideography; The method of experience; The method of expression; |
語 文 | 中文(Chinese) |
中文摘要 | 以京劇為代表的中國戲曲表演藝術,被視為相當注重「形的」的一門藝術,無論是指演員在表演中做出的各種「形體」、「聲形」,或指表演的「形式」、「程式」,都有一定程度的嚴格規範;但一方面強調「形」相似,一方面又強調難以捉摸的「神」的概念:比如「神韻」、「風神」、「傳神」、「神合」。如格在嚴格的「形」的規範下,創造出靈動鮮活的「神」,是戲曲演員必須面對的一個關口,於是與神之間的關係,成為表演論述中的一個恆常的議題,亦是評論表演優劣高下的重要標準。 戲曲的表演研究,可以從兩條路徑著手,一條是從中國美學傳承的源頭考量,以包括書法、繪畫、詩歌等藝術形式在內的中國古典美學進入,另一條則是在中國戲劇理論界所謂的「體驗派」、「表現派」的表演論述作為觀照。 在近代中國,戲曲表演的議題上出現了「表現」與「體驗」之爭,一是由於斯坦尼斯拉夫斯基(Konstantin Sergeivich Stanislavki)體系進入中國後,對於整個戲劇界(包括戲曲表演)造成巨大的影響,「體驗」成為在演員養成教育中,一項不可忽視的技能;二是由於東西戲劇表演上的比較,黃佐臨在針對中國話戲往民族化方向的過程中,提出的「寫意戲劇觀」,反過來給了戲曲表演研究一個新的窗口。本文將以形神論為切入點,討論「戲曲體驗論」與「寫意戲劇觀」在戲曲的表演創造上,互相拉扯或相輔相成的關係:戲曲表演者對所扮演角色的體驗是必然的,但也因為戲曲表演講求寫意的特殊性,戲曲演員的體驗亦有他的特殊性。這種特殊性,亦造成了古典戲曲表演在形神論上的鮮明特性。 |
英文摘要 | Jing-ju(京劇), the traditional Chinese theatre form, represents the idea of Xing (形) much more than other forms of performing arts do. Xing, a strict standard, refers to the forms or shapes of actors’ bodies and voice, and also signifies the forms or patterns of performance. On the other side, Jing-ju also represents the idea of shen(神). Shen, refers to spirit, proclivity, resemblance, and Shenhe(神合). Actors of Chinese traditional theatre have to create shen in the strict standard of Xing. That’s the reason why the relationship between Xing and Shen becomes an issue. There are to research approaches to look at Chinese performance and theatre. One is to examine aesthetics of Chinese traditional arts, such as calligraphy, panting, and poetry. The other one is to understand the western performance methods of “Experience” and “Expression” in Chinese content. This thesis is to explore the methods of “Experience’ and “Expression”, influenced by Stanislavskian system in China and the comparison between the Oriental and Occidental concepts of performance. The ideas of ideography and realism in performance are mostly associated with Xing and Shen. Of course, the methods of “Experience” are necessary for the actors of Chinese traditional theatre, but the ideographic characteristic is also required. That’s the unique adaptation of “Experience” in Chinese traditional theatre. |
本系統中英文摘要資訊取自各篇刊載內容。