梅蘭芳的「表情」與「京劇精神」

Mei Lanfang’s “Expression” and “the Heart of Beijing Opera”

梅蘭芳並不是「京劇精神」的最高體現者，梅蘭芳也不是中國古典戲曲審美形態的終結者。梅蘭芳的戲曲美學觀是混雜的。「以梅蘭芳為代表的京劇精神」實際上是一個特定歷史時代戲曲美學思想泛西方化、泛斯坦尼化的產物。「摹仿」是西方戲劇藝術「扮演」的核心。中國戲曲藝術則是以「表現」作為「表演」的核心。同是「演」，「扮演」就是「進入角色」，「表演」則是與角色相區分。與角色相區分的根源在於中國戲曲演員的「表演」不是「表演角色」，而是「表演行當」。「表演行當」就使演員與角色之間具有了「行當」這個中介的「間離性」。正因為具有了這種「間離性」，才存在中國戲曲藝術「敘述者」、「表演者」和「評論者」集於演員一身的三重表現性，而西方戲劇藝術卻只有一重表現性：演員與角色同一。這是中國戲曲藝術與西方戲劇藝術的根本差異！

Mei Lanfang is neither the uppermost incarnation of “the heart of Beijing opera,” nor the ultimate aesthetic model in Chinese classical drama, for his aesthetic conception of drama is eclectic. Taking Mei as the spokesman of the heart of Beijing opera in fact is the outcome of an over-emphasis on Western and Stanislavski’s theories in a specific period. “Impersonation” plays a key part of the performance in Western theater, while in traditional Chinese opera “representation” is the core of acting. The subtle difference between impersonation and representation rests on whether the performer gets into the character. Chinese opera performer tends not to act the character, but the categorized role, which functions as a medium to distinguish the performer from the character. The very alienated nature of Chinese opera makes the performer a narrator, an actor, and a commentator as three in one. This is the most fundamental difference between Western and Chinese classical dramas.