試析布萊希特與中國傳統戲曲劇場

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題名:	試析布萊希特與中國傳統戲曲劇場 An Analytic Study on Brecht and the Traditional Chinese Theatre
作者:	王士儀
貢獻者:	中國戲劇學系
關鍵詞:	布萊希特中國戲曲劇場 Brecht, Bertolt
日期:	1997-06
上傳時間:	2017-12-20 14:25:45 (UTC+8)
摘要:	本文在此二大表演體系的範疇裡，企圖試析二個問題：布萊希特擷取了那些中國傳統戲曲劇場經驗，形成史詩劇場的非尋常化效果 (de-familiarization)，與史詩劇場的非尋常化效果的理論，能否反饋，來闡揚或深化中國傳統戲曲。第一個問題，可以確知布萊希特是因梅蘭芳的表演而確立；因此，本文儘量減少冗贅的引証，僅就梅蘭芳當時演出的戲劇動作做為探討與非尋常化之間的相關性。阿甲總結中國戲曲基本特點，指出戲曲「觀眾看戲是有理智的判斷，有感情上的共鳴，還有美的欣賞。」據此，中國戲曲觀眾理智的判斷與史詩劇場非尋常化效果，是可以相互詮釋的；相同的，感情上的共鳴，也可與寫實主義的入戲相提並論。本文，基於篇幅，無法與史坦尼的或布萊布特的理論進行廣泛的比較。因此本文第二個問題，也僅就這二個不同劇場體系演出的最高任務來討論非尋常化是否符合傳統戲曲表演所發揮的功能。但不以傳統戲曲的個案為基礎，而根據流傳久長的戲曲口訣、術語對這問題做概括性的析白。此一方法迄未經加應用。 In these two systems of theatrical performing art, the purpose of the paper at-tempts to analysize two issues. At the first, what the performing practices in the tra-ditional Chinese theater Brecht adopted have formed the defamiliarization in the Epic Theatre dramaturg, And the second, it is a puzzled question whether the defa-miliarization feeds back to interpret or glorify the performing theory of the tradi-tional Chinese theater. The first issue is already expounded by Brecht who confirmed his idea of defamitiarization through his own observation of Mei Lan- fang's exquisite performance in Moseow; therefore, the discussion of this issue is only focussed on Mei's performance on the spot in 1935, instead of the rest excessive references as possible, to explore, their substantial relationships on the affinity of de-familiarization in these two systems. As generalized the basic characteristics of th etraditional Chinese theater, A Chia assumes that "the audience during a performances simultaneously enjoy intellectual judgement, emotional empathy and appreciation of beauty."Accordingly, it seems admittedly to indicate that the audience's intellectual judgement in the traditional Chinese theater could be interpreted as the defamiliarization in the Epic Theater; neanwhile, emotional empathy is paralled co-existence in the traditional Chinese theater and the realistic theater of Stanislavsky. For a limi-ation of the paper, it is hardly possible to work on a comprehensively comparative study on these subjects in the traditional Chinese theater with that of Brecht and of Stanislavsky. So the second issue of the paper primarily concentrates on the super-super-objective of these two systems from which the paper tries out a failure of th edefamiliarization of the Epic Theater to meet the functional needs of performance in the traditional Chinese thea-ter. The author has no intention to illustrate this very controversial issue on the base of selected performances of the Chinese repertoiry plays to favor or disfavor any in-tended premises as some scholars have already done. But rather, the paper orien-tates a new approach to validate the second issue in term of a general analytical explanation of performing of the traditional Chinese theater, orally handed down from a very long tradition over several hundred years to the present days, and vitally prac-ticed both in the regional and national wide theaters in China. This new approach has been bound no applicability yet.
關聯:	華岡藝術學報 4 民86.06 頁71-89
顯示於類別:	[中國戲劇學系] 期刊論文

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