【作者】 靳文泰；

【导师】 贾志刚；

【作者基本信息】 中国艺术研究院 ， 戏剧戏曲学， 2007， 硕士

【摘要】 马彦祥早在1931年就探讨戏剧本体的问题上提出了“戏剧二重性”这一主张，并对此进行了深刻的极其具有前瞻性的论述。在马彦祥的艺术探索道路中，话剧是其进行戏曲研究的起点，通过对中西戏剧的接触与对戏曲史的梳理，马彦祥意识到中国传统戏剧虽演剧性与文学性处于一个不平衡的发展状态，文学性的滞后严重影响了中国戏剧的发展。戏曲文学作为一种艺术体裁或艺术样式，本身就需要谋求革新，使之符合时代的要求；而面对形式高度程式化的现实，戏曲文学样式的变革又正是求得整个戏曲艺术革新的关键。戏曲是高度综合的艺术，它的革新离不开诸多艺术元素的结合，马彦祥从整体把握综合艺术的全局，着重探求文学样式的变革途径，尤其是剧本文学，他号召用现实主义表现方法作为戏曲剧本的创作方法，以学习和借鉴传统戏曲艺术的“旧形式”为前提条件，更好地表现现代生活。在努力复兴中国戏剧的实践中，马彦祥以“戏剧二重性”为指导，其最大的贡献就在于抓住了戏剧本体的美学特征，摆正和加强了剧本的地位。马彦祥所提倡的戏曲现代戏，是以表现时代性的内容为核心，以新的“程式性表现语符”为表现方式，辅之于现代剧场思维，依循戏曲传统的美学原则，在这种“现代律动”中获得一种有别于传统的美感，这不但深化了他对文学性与演剧性的思考，加强了内容与形式的转变，同时也加深了对戏曲传统的认识。马彦祥对于戏曲本体特征的思考和研究，是来源于对中国戏曲史的梳理以及在西方戏剧理念的催生下进行的，他不仅关注戏曲的外部特征，同时也在注意引起外部特征改变的内在根源，他对戏曲本体特征的把握是一种动态的、自觉的而不是僵化的。更多还原

【Abstract】 As early as in 1931, Ma Yanxiang puts forward the idea of "duality of opera" in discussing the problem of the subjectivity of opera and makes a profound, foreseeing illustration. Stage play is the starting point for Ma Yanxiang to study traditional opera. Through sorting out the history of traditional opera and learning the Chinese opera and western opera, Ma Yanxiang realizes that the lack of literature features seriously affects the development of Chinese opera though the performance and literature flavor are in a balance state.As one kind of art or pattern of art, traditional opera literature itself needs innovation in order to keep pace with the times. Meanwhile, facing with the highly stylization of forms, the change of traditional opera literature’s forms is the crux of the whole change of traditional opera art. Traditional opera is a kind of highly comprehensive art, whose innovation is connected with combination of many art factors. Ma Yanxiang looks at the overall situation of comprehensive arts from the wholeness. He explores the changing ways of literature’s forms especially the play literature, and he appeals to use realism as the method of creating traditional opera play so as to present modern life better based on the premise of learning and drawing on traditional opera art’s "old form".In the practice of reviving Chinese opera, under the principal of "duality of opera", Ma Yanxiang grasps the aesthetic features of opera subjectivity and strengthens the play’s position. This is his greatest contribution. The modern traditional opera, which is advocated by Ma Yanxiang, is with the core of presenting times features. It uses "formulized presentation language sign" as presenting method with the supplementary of modern theatre thinking. It follows the traditional aesthetic principals and gets a kind of aesthetic feeling different from the tradition in this "modern beating".This not only deepens his thinking about possible of playing and literature flavor but also promotes the change of forms and contents. Furthermore, it deepens the realization about the traditions of traditional opera.Ma Yanxiang’s thinking and study on the subjectivity features of traditional opera stem from organization of the history of traditional opera and proceed to go on the ideas of the Chinese opera and western opera. He pays attention to both the outside features of traditional opera and inside origins which cause the change of outside features. His control of traditional opera’s subjectivity features is dynamic, self-conscious rather than rigid.更多还原