試論中國戲劇表演的多樣性

Research on the Versatility of Chinese Theatrical Performance

中國的傳統戲劇可區分為兩大類型，即盛演於城鄉舞臺上的觀賞性戲劇（包括傳統的戲劇樣式如雜劇、南戲、傳奇和各種地方戲）和植根於民間底層祭祀民俗活動中的原生態戲劇（或稱祭祀戲劇、儀式劇，包括賽戲、儺戲和目連戲等）。它們有一個共同之處，那就是都具有「雜」的特點，亦即具有明顯的多樣性。多樣性是指它的表演錯雜斑駁，諸藝雜陳；諸體雜用，形態各異；構成戲劇的各種藝術因素融合程度不一；藝術手段運用，多寡有別；演出場所或固定，或流動，時而分離，時而連接。不同的戲劇類型、戲劇體系，其表演形態不同，顯示出戲劇的成熟程度有別。一觀賞性戲劇的表演形態較為成熟，而原生態戲劇的表演形態則較簡單。觀賞性戲劇在城鄉舞臺上演出，具有娛樂人群、寫意性、綜合性和以行當演人物等特點。一原生態戲劇有的比較接近成熟的戲劇，有的卻還處於初級階段，甚或只屬泛戲劇形態。不同的表演形態融合的藝術因素不一，有多有少。觀賞性戲劇融合的藝術因素多一些，大部分劇種都有「唱、念、做、打」等藝術因素，並有機地融合。原生態戲劇則缺少構成戲劇的某一種或者多種藝術因素。觀賞性戲劇一般通過行當扮演劇中人物，原生態戲劇則不完全需要。構成中國戲劇的各種藝術因素除了用融合的方法化為戲劇本體之外，還有一種方式是嵌入，亦即戲劇表演時有時插入一些其他的藝術因素，或表演段子，它們未能與戲劇本體融合為一，帶有明顯的鑲嵌痕跡。這種情況在觀賞性戲劇和原生態戲劇中都有存在。

Chinese traditional drama can be divided into two types. One is for entertainment on stages either in urban or in rural areas; the other is prototype drama deeply rooted in religious folkloric activities. Both have one characteristic in common: diversity, which means a wide variety of genre, style, and expression encompassed in theatrical performance and determined by their contexts. Various performing patterns reflect how mature different dramas are in different degree. The expression of entertainment oriented dramas tend to be complicated for their symbolic presentation and categorized roles shaped in performing environments, while the prototype dramas seem to be simpler, or even primitive. The composition of most of the entertainment oriented dramas conjoins elements of singing, recitation, posture, and combat movement as an organic unity by the presentation of categorized roles. Prototype dramas, however, lack the comprehensive incorporation of all performing patterns and distinct role classification. Sometimes extraneous pieces of performing patterns are still identifiable both in entertainment oriented dramas and prototype dramas. There are two types of performing spaces: fixed and movable. In the development of Chinese drama, spaces ranged from open ground and altar to palace or private hall, and pending the prosperity of theatrical activities, open stages as well as dance pavilions were erected. When forms of performance became more diversified, commercial theaters, stages in temples, and private theaters sprang up everywhere. On the other hand, performances on movable platforms or chariots have existed since the early stage of Chinese drama. The development of Chinese drama is by no means an evolutionary process; the versatile latter forms never replace the former, but co-exist. The versatility of drama performances not only mirrors the process of their development, but also reflects diversified aesthetic tastes of the audiences.