摘要
面临现代文化和大众流行文化的冲击,传统戏曲正陷入吸引力日渐流失的困境,电影、话剧等舶来媒介为戏曲提供了跨媒介复返的破界生机。本文拟以话剧《惊梦》和电影《椒麻堂会》为考察中心,在戏曲的发展脉络中思考其被赋予媒介想象的现实动因与文化指向,并对戏曲“跨媒介”的独特性进行阐述。近年来,诸多戏曲跨媒介作品将视野从艺术家转向平民史诗,通过群像叙事诉说艺术处境与历史切面。破除单一艺术的界限,戏曲在现代媒介中实现了多重艺术的碰撞与融合。随着戏曲元素逐渐成为投射现世的价值理念与情感结构的互文符号,被赋予“中介”功能的艺术也引发了关于“本体”是否存在的迷思。
Faced with the ever-increasing influence of modem and popular culture,traditional Chinese opera is in a predicament of declining appeal.However,the emergence of Western media such as drama and film has provided a unique opportunity for Chinese opera to experience a revival in the realm of intermediality.By examining the drama Jing Meng and the film A New Old Play as case studies,this article aims to explore the realist motivations and cultural implications underlying the intermedial creation attributed to Chinese opera within its developmental context.It also attempts to elucidate the specificity of intermedia practice in Chinese opera.In recent years,many intermedia works in Chinese opera have shifted their focus from individual artists to the epics of the common people,using group portrait narrative to depict the state of the art and historical cross-sections.In addition,Chinese opera transcends the boundaries of singular art forms and achieves a remarkable collision and integration of different artistic expressions in the sphere of modem media.As elements of Chinese opera are transformed into intertextual symbols that reflect contemporary values and the structure of emotions,the arts assume an increasingly important role as“mediators”,provoking profound contemplation on the nature and ontology of art itself.
作者
罗婷
梁孝昶
Ting LUO;Xiaochang LIANG(Zhejiang University)
出处
《马克思主义美学研究》
2023年第2期327-339,487-488,共15页
Research on Marxist Aesthetics
基金
中央高校基本科研业务费专项资金资助
关键词
戏曲
跨媒介
《惊梦》
《椒麻堂会》
文化流变
Chinese opera
intermediality
Jing Meng
A New Old Play
cultural transformation
作者简介
罗婷,哲学博士,浙江大学传媒与国际文化学院“百人计划”研究员,主要研究方向为电影学、媒介研究;梁孝昶,浙江大学传媒与国际文化学院广播电视2022级硕士研究生。
