中国传统戏剧的叙事性分析

中国传统戏剧一直以曲为本,坚持戏剧的抒情作用,忽视其叙事性。随着研究深入,针对中国传统戏剧叙事的研究取得长足发展。本文分析了中国传统戏剧中抒情重于叙事的原因,进而分析传统戏剧叙事的方法和形式,同时与西方戏剧传统叙事方法进行对比,凸显中国传统戏剧叙事的特点。     

中国传统戏剧的研究现状

中国传统戏剧经过多年的研究,取得了辉煌的成绩,王国维《宋元戏曲史》的出版,将中国戏剧搬上了研究的舞台。王国维、吴梅、周贻白分别从不同角度对戏剧进行了研究,但是由于历代学者重视戏剧的文学性,使得王国维的重文学的治学之法成为主流。进入21世纪,学者们又提出了关于建设完整的中国传统戏剧理论的思想构架,戏剧研究的发展又有了新的目标,本文在总结前人对中国传统戏剧文学性、艺术性、民族性研究的基础上,试图发现传统戏剧理论建设研究的不足之处,努力探索传统戏剧的研究前景。     

实验戏剧与中国现代戏剧传统

从表面上看,实验戏剧是对中国现代戏剧传统的反叛和否定．但作为中国现代戏剧发展过程中的一个阶段,实验戏剧也继承和发展了中国现代戏剧的某些传统．如现实主义,民族化和大众化等传统．     

回归传统--论中国当代先锋戏剧对中国传统戏曲的借鉴

中国当代先锋戏剧对中国传统戏曲非常重视。并且从假定性、剧场性和综合性三方面向其吸取丰富的营养,但是这种回归传统的做法并不是复古,而是站在戏剧观念现代化的高度重新审视传统。     

中国传统戏剧的艺术精神与艺术骨骼——关于中国传统戏剧的再思考

本文尝试回归传统语境,认识中国传统戏剧的艺术精神、艺术骨骼.本文认为,中国传统戏剧不刻意追求结构、规模,所谓写意、表现与再现的不同,正在于它可以以其自身艺术基本精神、艺术骨骼为基础,专心处理戏剧的内在诸元素,从而达成完善的综合,在任何可能的体段内,抒情写意.中国传统戏剧的艺术骨骼由戏、歌、舞结构而成,其艺术精神凭此传达.     

消费主义文化语境下的中国传统戏剧

进入消费时代后,中国传统戏剧面临着严峻的生存困境,为了适应大众化、消费时代的市场化,中国传统戏剧不断地做着"与时俱进"的努力。在主题内容、艺术手法和舞台设计等诸方面都发生着变化,然而中国传统戏剧的自身特点又决定了追求现代化必须以其内在艺术特质为基本前提。     

利马的中国传统戏剧

1869年到1875年,一种新的戏剧形式逐渐在秘鲁首都出现,只是当时还没有在利马社会引起很大反响。中国移民为其赋予了极大的艺术感染力,并让这个南美国家对它产生了兴趣。本文依托诸多出版于十九和二十世纪的利马报刊档案,以异质文化研究者对中国戏剧的阐释和误解为主体,针对中国传统戏剧在西语国家的传播和接受做初步探索。     

鲁迅中国传统戏曲的审美情趣

鲁迅在《社戏》中曾谈到在北京去看京戏的两次受窘的情形,并且从那时起自己就和中国戏剧告了别严但是,鲁迅从小喜爱传统的民间戏曲,后来他在教育部分管社会教育司的工作,戏剧是他必须关注的一个方面。如了解戏剧剧目,审阅剧本,甚至派人去看戏、调查戏剧演出情况等。鲁迅不能不关心中国戏剧的建设和发展,他对中国现代戏剧艺术的创造和改进曾有过极为精辟的见解户而在鲁迅感情积淀的深处,又有着对中国传统民间戏剧极为真挚的审美意蕴。所以,从1922年写《社戏》,1933年写《二丑艺术》,1934年写《略论梅兰芳及其他》,直到1936年逝世…     

谈布莱希特戏剧中的中国传统文化

世界戏剧大师布莱希特研究和吸纳中国文化知识,并积极地把它们运用到自己的文学创作中。本文主要介绍和分析他的两部代表性戏剧—《高加索灰阑记》和《四川好人》,论述了中国传统文化对其主题构思和表演方法上的影响。     

中国传统装饰符号的文化意蕴

中国传统装饰符号有着多样的形式、丰富的内容及富有极其耐人寻味的文化意蕴.本文以纹身艺术和中国戏剧脸谱以及富有浓郁特色的中国剪纸艺术等栽体来诠释传统装饰符号所透射出的美学价值,借以展示中华民族文化的非凡魅力.     

中国大陆小剧场戏剧热潮的终结

进入21世纪后中国大陆出现了一定规模的商业性小剧场话剧,它们打着小剧场戏剧的旗号吸引了大批的城市青年观众尤其是白领阶层。诸如此类的小剧场戏剧都有比较成功的商业操作,但是从探索一种新的小剧场美学或者说解救戏剧危机的角度而言它们无所作为。本文将立足于21世纪初小剧场戏剧阵营里不再具有实验性的主导性商业化小剧场戏剧来说明中国大陆的小剧场戏剧作为一种大规模的现象已经终结。     

唐代戏剧形成与戏剧意识萌芽

确定戏剧的形成时间 ,既是戏剧史研究的基本课题 ,又是戏剧观念研究的历史起点。本文首先从理论确认和事实印证两个方面 ,论证“戏剧形成于唐代”说 ,即中国戏曲形成于唐代。其次分析唐代人们的戏剧意识。伴随戏剧的产生 ,戏剧观念开始萌芽。唐代人们产生了雏形的戏剧意识 :初步认识了戏剧文体并予以分类 ;体验戏剧的“悲感”与“乐感” ;用道德评价戏剧 ;借助诗文讽谏说构建戏剧讽谏说。唐代人的戏剧意识影响了后世的戏剧思想。     

Invisible theatre,ethics, and the adult educator

This article probes the ethics of one of the more controversial as well as exciting forms of adult education—the mode of theatre of the oppressed called ‘invisible theatre’. Looking at claims made by practitioners—Augusto Boal’s especially—and drawing on concrete theatre pieces, the author asks: What are invisible theatre’s claims to ethicality? How valid are the claims? Are the claims and practices compatible with adult education principles? And how might invisible theatre be conducted more ethically? The article demonstrates that despite invisible theatre’s highly ethical mandate, Boal’s defences of invisible theatre are wanting, the levels of deception and danger are problematic, and the standard practices and claims are incompatible with certain adult education principles and commitments, including the Freirian commitment to non‐manipulation. At the same time, it is shown, there is potential for invisible theatre praxis which is both effective and ethical, albeit changes are called for. Suggestions for improved practice include: invisible theatre troupes committing themselves to becoming ethically reflective practitioners, making minimal deception the new norm, reining in the level of conflict, exploring the ‘opaque’, and no longer taking as a given that invisible theatre should never be ‘outed’.     

中西传统戏剧结构之特性剖析——古希腊悲剧与元杂剧戏剧本体特性的差异

古希腊悲剧和元杂剧皆为中西方戏剧的传统代表,它们有着各自的艺术特性,尤其表现在不同的戏剧结构特点上。古希腊悲剧多为锁闭式结构,而中国元杂剧则以开放式结构为代表。这两种戏剧结构的形成与中西方戏剧本体特性有着紧密的联系。本文从主题思想、时空观念以及表演方式三方面入手,对中西传统戏剧结构差异性进行剖析。     

The school theatre as a place of cultural learning: the case of Soviet Latvia (1960s–1980s)

Abstract

The goal of this article is to reveal how through school theatre activities under authoritarian rule, changes took place in pupil knowledge, skills, attitudes, and behaviour regarding culture, namely, how the process of cultural learning occurs. I use a historical case study, specifically the case of the Valmiera School Theatre, which was the leading theatre group, not only in Soviet Latvia, but also in the entire Soviet Union. My primary sources are eight unstructured interviews, 20 published memoirs, articles in the press, theatre programmes, and photographs. One part of Soviet pedagogy was aesthetic upbringing, which was implemented through state-funded collectives, including school theatre groups. By participating in theatre activities, students gained knowledge of cultural heritage (literature, theatre, art, etc.), the ability to perform and acquire skills in other practical fields, and developed an appreciation of culture as a value. I argue that cultural learning through theatre was demonstrated by the fact that the students transferred their knowledge, skills, and attitudes to a new context, namely, their places of work and public cultural activities (e.g. amateur theatres). This case study also reveals the specific role of school theatre in the process of cultural learning, as well as some sensitive issues in the relationship between knowledge-orientated or formal educational environments, and the informal creativity of school theatre.     

利用教学模拟情景剧促进大学教师发展——密歇根大学教学模拟情景剧项目介绍

教学模拟情景剧项目是由密歇根大学学习与教学研究中心运作的一个大学教师发展项目.它致力于将戏剧艺术应用于大学教师发展之中,通过互动短剧、传统剧目和启发性短剧的方式向观众呈现大学教师教学、工作和学术生活的各种情景,注重演出之后观众参与互动、思考和讨论.作为一种艺术形式,戏剧在大学教师发展中具有传统发展方式不具有的优势,它能够很好地适应如今学术背景下大学教师发展的需要.     

UCLA COMMUNITY COLLEGE BIBLIOGRAPHY

The research reported in this article explored the extent of self‐censorship in community college theatre programs across the country. What part of the college administration plays in such censorship is also examined. Censorship does exist in community college theatre. Much of the censorship is self‐imposed. Directors avoid plays that are controversial. The audience is protected from harm. Profanity, racial slurs, and negative religious references are cut. When cuts are not made, disclaimers are often published in programs or placed in the lobby or both. Further research opportunities suggested by this study lie in examinations of how theatre departments deal with copyright issues when cutting objectionable material from plays. Defining the responsibility of the community college theatre program to the community is another area of research that needs to be addressed. Little censorship occurs from external sources. Finally, how the responsibilities of the college and the theatre to truth can be resolved with the presence of censorship in academic theatre is an area yet to be adequately explored.     

香港后现代戏剧的探索与困惑

后现代主义是1980年代以来香港最活跃也最引人注目的戏剧实验。解构／拼贴戏剧对传统戏剧及文学文本的重新结构或诠释，和意象戏剧的反戏剧、反文本、反语言，都有其独特的艺术探索与创造，但也潜含着诸多困惑。     

威廉斯剧作的诗意追求--评《玻璃动物园》

威廉斯在其成名作《玻璃动物园》中自觉地将传统与创新、现实主义与现代主义揉合在一起,成功地开创了一种抒情的、诗意的造型戏剧。本从该剧诗样的意象建构、表现主义与象征主义完美统一的舞台设计、以及富于联想和韵律化的语言等方面深入探讨了威廉斯剧作的诗化倾向,旨在揭示威廉斯不仅是一位当之无愧的戏剧改革家,而且是一位真正意义上的戏剧诗人。     

评价苏珊·巴斯内特关于戏剧翻译的论述

苏珊.巴斯内特就戏剧翻译进行了深入探讨,相关论述见于论文《仍然陷足于迷宫:对翻译与戏剧的再思考》(收于《文化构建——文学翻译论集》)。在对戏剧及戏剧翻译中长久以来存在的一些意见分歧的重新思考中,苏珊.巴斯内特反思戏剧翻译者的角色认知,从剧本创作和戏剧表演的本质出发试图为戏剧翻译找到绕出迷宫的途径。