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由于长期以西方写实主义戏剧作为参照,人们倾向于认为中国传统戏剧拥有无限的“时空自由”。实际上,在时空转换方面,中国传统戏剧和西方写实主义戏剧的区别不在于时空本身接续与并存的秩序,而只在于确定时空的手段是物质的还是非物质的。相比之下,更具有中国传统戏剧特点的是时空变形,以西方戏剧剧场作为参照,可以看出这一特点根植于中国传统戏剧的本质:史诗、抒情诗和戏剧体诗的成分始终处于一种混杂的状态,戏剧时空因而在客观性和主观性之间摇摆。而如果以自觉追求多样化时空形态的西方当代剧场实践尤其是后戏剧剧场作为参照的话,那么中国传统戏剧的“时空自由”显然属于历史范畴而非体系范畴,它在本质上只是中国传统时空观在戏剧舞台上的朴素体现,是一种无意识而有限度的自由。
Due to long-term use of Western realist drama as a reference, people tend to think that Chinese traditional drama has unlimited “space-time freedom.” In fact, in the aspect of space-time transformation, the difference between traditional Chinese drama and western realistic drama is not the order of continuity and coexistence of space and time itself, but only the means of determining time and space are material or immaterial. In contrast, the more traditional Chinese theatrical feature is the deformation of time and space. With the western theater as a reference, it can be seen that this feature is rooted in the essence of Chinese traditional drama: the composition of poems in epic, lyric and dramatic poems is always at one In a mixed state, theater time and space thus swayed between objectivity and subjectivity. However, if we take the practice of western contemporary theater consciously pursuing diverse forms of time and space, especially the post-drama theater as a reference, the “space-time freedom” of Chinese traditional drama obviously belongs to the category of history rather than to the category of the system. It is essentially only Chinese tradition The simple expression of the concept of time and space on the drama stage is a kind of unconscious and limited freedom.