戲曲音樂傳統創作方式反思

A reflection on traditional composition of Chinese opera music

程式是同樣的形式材料在不同作品中的反復沿用。程式便於掌握，大量沿用程式可以顯著減輕新戲創作的繁難。在眾多作品中沿用，也為程式自身的錘煉和提升提供了充分的機會。但程式沿用有重複之弊，因此藝人一方面會在沿用程式時儘量有所變化，一方面也會在程式之外積極開拓新的表現路徑。20 世紀中葉戲曲從「時代藝術」轉變為「傳統藝術」，其後戲曲音樂創作便把程式沿用提到了「保存傳統」的高度，離開程式的創作會被批評為「否定傳統」。其實戲曲音樂真正的傳統既包含對前人成果的繼承，也包含在繼承之外的創新，只有不斷的創新才能為傳統持續注入生命活力。近數十年來又總把遺產保存與新戲編創兩項任務合而為一，要求新戲的音樂只能走既要「傳統」、又要「時代」的中間道路，但這種要求對遺產保護和藝術創新兩項工作都常有不利影響。近數十年來戲曲音樂的創作越來越邁不開步子，表明選擇「傳統」便意味著放棄「時代」。

A formula is a format used repeatedly in different works. Formulas are easy to follow and reduce the complexity of creating new plays. Being used in many plays also provides ample opportunity for the improvement of a formula. The downside is repetition, therefore writers and performers try to use variations of the same formula, and meanwhile actively create new performances outside the conventional formula. In the mid-twenty century, Chinese opera was redefined as ＂traditional art＂ and not ＂contemporary art＂. After that, in opera music composition, following the formula is considered as ＂preserving tradition＂ and deviating from formula is critiqued as ＂negating tradition＂. The long-running tradition of Chinese opera music encompasses inheriting from previous accomplishments, as well as innovating based on them. Only continuous innovation brings life and energy to the tradition. In the past few decades, conserving heritage and creating new plays have been combined into one task, and the music of new plays is expected to be in the middle ground of ＂traditional＂ and ＂contemporary＂, but this in fact negatively impacts both conservation of heritage and innovation of the art form. The limited progress made by Chinese opera music in the past decade due to such constraints is proof that maintaining ＂tradition＂ forsakes ＂the times＂.