论孟京辉戏剧对戏曲艺术的吸收.pdfVIP

摘 要 实验戏剧自 20 世纪 80 年代在中国兴起以来，曾一度以先锋的个性和艺术特 色追逐“小众化”的实验目标，但同样这种“小众化”也使它失去了观众，从 而失去了发展的市场和基础。20 世纪 90 年开始，孟京辉的戏剧越来越被业界内 外的人所关注，成为实验戏剧的一个标志。在他的戏剧实验中，他擅于采取各 种舞台技巧和形式，以期获得观众的认可和赞赏，在寻求相对固定且越来越庞 大的观众群的同时，获得了将戏剧实验继续发展下去的动力和机遇。 孟京辉对观众和观演关系的重视，是他在创作过程中努力争取观众认同和参 与的主要原因。为了实现这一目标，他必须使戏剧在内容和形式上都尽量符合 观众的审美需求。由于戏曲艺术自身的独特魅力及其在中国观众文化审美心理 积淀过程中的重要影响，以及梅耶荷德、布莱希特等人对戏曲艺术的肯定，使 孟京辉得以从多个向度对戏曲艺术的舞台形式进行多重的借鉴。这种借鉴不仅 体现在作品丰富的舞台效果和整体风格上，也体现在表演方式和舞台美术、时 空效果等诸多方面。本文着重讨论他在戏剧形式上所做出的尝试，从舞台表演 的综合性、表演方式的多元性及符号-意象的灵活运用这三个方面来进行分析， 揭示戏曲艺术的舞台形式对孟京辉戏剧的影响，及其在孟氏戏剧中的全新发展 和演绎，探索实验戏剧在中国发展的新的方向和可能性。 Abstract The Experimental-Drama was commencing in China in the 1980’s.During the early stage, it presented pioneer character to make itself unique, but at the same time, the pioneer uniqueness also dismissed the audience from it, which led to no market and possibility for its further development. Since the 1990’s, more and more people, either specialists or audience, have paid their attention to Meng Jinghui’s dramas, which turned out to be the representation of the Experimental-Drama in China. Meng Jinghui has made use of varieties of skills and manner on the stage to obtain the approval and admire from the audience. He has gradually won the favour and royalty of his own audience, and found the momentum and opportunity for the progress of his dramas. It is the concern on the relationship between the audience and the actors that makes Meng Jinghui endeavor to have the audience participating in the process of the drama and associating their emotions with it. For this target, to satisfy the audience both in content and manner is obviously in need. Thanks to the fascination of the Chinese Traditional Opera, the Chinese audience has got used to enjoying it for thousands of