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| 文章编号：1672-3104(2025)01-0207-09 |
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“假定性”与“现实性”的流转——20世纪20至60年代戏曲“程式”的概念史探源 |
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郭超，李璐娲 |
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（中山大学中国语言文学系(珠海)，广东珠海，519082） |
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| 摘 要： 作为戏曲领域的核心理论之一，“程式”概念并非“亘古不变”的永恒真理，而是从20世纪初戏剧领域中西之辨的端倪初现时对照“他者”而定义出来的，突出其“符号”“象征”的“非写实”意味。20世纪三四十年代，程式概念和延安时期的时代环境、戏剧潮流不断互动，也因“斯坦尼斯拉夫斯基体系”的影响而增加了“体验”的一维，并延续到新中国成立后的戏曲之中。但1959年，阿甲提出将体验与技术结合，是为“程式化体验”，伴随着戏剧界对“斯氏体系”评价的变化，程式理论中的“假定性”也开始回归。程式理论对戏曲演员的实践活动起到了形塑作用，戏曲演员的实践活动则使戏曲的程式特征愈发凸显，以“程式”为中心的言说与实践互动使现代戏曲发展出了一套独特的表演传统。 |
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| 关键词： 程式化；假定性；生活体验；“斯氏体系”；写意 |
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The transformation between artistic presumption and reality: The conceptual history of “theatrical convention” (1920s—1960s) |
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GUO Chao, LI Luwa |
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（Department of Chinese (Zhuhai), Sun Yat-sen University, Zhuhai 519082, China） |
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| Abstract: As one of the core theories in the field of “xiqu” (traditional Chinese theatre), the concept of “conventionalization” is not an eternal truth, but has been constantly defined through comparisons with the “cultural other” since the early twentieth century when Chinese theatre first faced the challenge from its Western counterparts, highlighting non-realistic implications of “signs” and “symbols”. In the 1930s and 1940s, the concept of conventionalization interacted with the social environment and the cultural zeitgeist in Yan’an, incorporated the dimension of “life experience” under the influence of the Stanislavski system, and continued as one of the “characteristics” of “xiqu”. In 1959, A Jia recommended combining experience and artistry, which is “conventionalization experience”, and along with change in re-evaluating the Stanislavski system in theatre circle, “artistic presumption” in conventionalization theory began to return. The theory of conventionalization influenced the practice of “xiqu” performers, and the practice of “xiqu” performers in turn makes the conventionalizing character of “xiqu” increasingly prominent. The discourse and practice centered on conventionalization enables modern “xiqu” to develop a distinctive tradition of performance. |
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Key words: conventionalization; artistic presumption; life experience; the Stanislavski system; non-realism |
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