浅论焦菊隐的话剧民族化探索.pdf

摘 要 焦菊隐的话剧民族化探索是中国现代戏剧史上一个重要里程碑。本文主要分 析和阐述他在话剧借鉴戏曲方面的理论探索和实践验证，从其青年时代的戏剧论 文和戏曲实践入手，着重分析了其导演理论代表学说（心象说）与其话剧借鉴戏 曲的关系。如果我们把心象说看作焦菊隐前期的导演理论成果，而把话剧借鉴戏 曲意义上的民族化探索看作是焦菊隐后期理论的主要建树的话，那么这二者之间 的关系主要体现在一致性（强调内外辩证统一）及延续性（强调演员的外部形象 塑造和形体训练的重要性）上。同时，焦菊隐也在导演实践上努力印证自己的理 论探索并取得了实践上的成功。这方面主要表现在《茶馆》、《蔡文姬》等经典剧 目的导演手段和舞台处理上，包括人的方面（即演员训练和舞台形象塑造）和物 的方面（除人以外的舞台布景、舞美、灯光等因素）。话剧民族化的探索不是焦 菊隐一个人的行为，几代中国话剧人都在做着自己的努力，这是当时的时代大背 景，但是无疑焦菊隐在这方面取得的成就是尤为显著的公认的。 关 键 词 民族化 心象说 内外统一 形体训练 借鉴戏曲 abstract In the process of the development of Chinese modern drama, Mr. Jiaojuyin’s research on the nationalizations of Chinese drama is a key milestone. The thesis mainly analyses and expounds Mr. Jiao’s theory probe and practical conclusion on Drama by drawing lessons from traditional Chinese drama and puts focus on his early papers and practical experience on the traditional Chinese drama to analyze the relationship between his unique theory as a drama director, that is, the theory of “inner image” and the drawing lessons of traditional Chinese drama in his practical works. The author considers the “inner image” as his early conclusion as a drama director and the pursuits on the nationalizations of drama as his latter achievements. The author also considers that the relationship between the two theories are consistent and continuous. Meanwhile, Mr. Jiao tried to verify his theories on his director practice and made a certain success. Some famous plays, such as “Tea House” and “Caiwenji”, embody his theory of nationalizations of drama in many aspects, for instances, the methods of directing and the handling of stage. Obviously, the probe of the nationalizations of drama is not Mr. Jiaojuyin’s personal achievement