王添羽 新加坡戏曲学院
Wang, Tianyu, College of Traditional Opera
原文Original
中国传统戏剧艺术的传承——推陈出新，与时共进
本文首先通过提出一套促使传统戏剧繁衍生长的理论设想，即具备可接受性和抽象性的观众群，并通过此套设想回顾中国传统戏剧的沿革，以验证其存在性。笔者认为，中国传统戏剧的形式和美学基础，主要建筑在“语言文学，舞蹈和音乐”上。19世纪以来，随着科技的发展，也使戏剧传播方式发生革命。新思想与中国传统戏剧发生了整合。这种转变也使中国戏剧谋求新的发展，五四文学革命运动无疑是有效的突破口。中国政治上的积弱，激起弱国子民的兴国救民之心，戏剧也由此气象万千。尽管此时的中国依旧饱尝战乱之苦，但是戏剧却正悄然破茧而出，无论是体制还是内容都已趋向完美。
本文将“五四”作为中国从文言文向白话文彻底转变的分水岭，希望为中国传统戏剧的传承找到更大的空间，以寻求其存在和发展的根本价值。笔者认为将极具现实思考意义的话题与传统戏剧结合起来是戏剧生存的一个基本条件，也是戏剧成为真正的戏剧不可或缺的因素。在戏剧传承的道路上，这是我们需要不断探索的一大命题。
译文Translation
The Legacy of Chinese Traditional Opera: Regenerating and Updating
In order to stimulate the growth and flourishing of Chinese traditional operas, this essay first of all proposes a theoretical hypothesis: it is needed that the Chinese operas should be both acceptable and abstract and have a stable group of audience. On the basis of this hypothesis, the author tries to trace the history of Chinese traditional operas. The author believes that the form and aesthetical basis of Chinese traditional operas are built on Chinese language, literature, dance and music. Ever since 19th century, the transmission method for Chinese operas have greatly changed and renovated along with the development of science and technology. New ideas have been integrated into traditional operas. Such transition became the impetus for Chinese operas to seek for new development. May Fourth Movement can be regarded as the effective breakthrough. The weakness in Chinese politics and the enthusiasm of the Chinese to revive their national spirit and to save their country from the darkness brought new chances for Chinese operas. Though at that time China was suffering the war and disasters, more new operas were produced, and the opera system and content became more and more updated with new time.
This essay will focus on the dividing crest of May Fourth Movement when Chinese language was turning from the classical language to the more colloquial language (vernacular). The purpose of the paper is to reflect this period and to look for the fundamental value in that transitional period so that we may find a bigger space for the development and survival of the legacies of Chinese operas. We hope to combine the current issues and traditional operas. The author believes that this is the basic condition for Chinese operas to survive. It is also the necessary element for Chinese operas to become the genuine and living operas. This is an important thesis we should keep on pursuing and studying when we are carrying on the legacies of Chinese traditional operas.