從梅派表演藝術之形塑看流派嬗變的現象

京劇藝術是一項以「人」為核心的綜合表演藝術，卻因各表演者自身的天賦條件、人格修養、生活體驗、表演技巧及師承狀況之差異，形成了個人不同的藝術風格與特色，而又能各自擁有其喜好的觀眾與效仿者，遂造成了各家「流派」藝術紛沓而起；更由於流派藝術的發展，也促使京劇的繁榮並於各劇種中躍為霸主之殊榮。然而，以梅蘭芳為典範的梅派藝術能成為各流派藝術中流傳最廣、傳人最盛、首傳至海外，更讓中國的京劇藝術享譽國際，儼然成了對中國戲曲貢獻最大的流派。故而本文乃試從以「梅派」的表演藝術為論述對象，由梅蘭芳的生平與藝術風格為基點，從中探討關於戲曲演員的本質與其扮演角色間的關係，進而重新檢視、討論，在流派藝術的傳承上或因表演藝術家的個人素質與社會經驗等大環境因素之影響下，將使得其原所師承的流派風格與藝術面貌而有所嬗變。

關鍵字

戲曲；京劇；梅蘭芳；京劇流派；角色

並列摘要

Beijing Opera is a kind of synthetic performing art which uses the actor to be nucleus. Because of his distinctions in talent, personality, life experiences, performing skills, and the instructor, the performer can be not only cultivated the different artistic style and character, but also possesses the respective fans and imitators. That is created the different artistic schools. In addition, owing to the art developments of the schools, the Beijing opera is become prosperous and the leader of the Chinese operas. However, the Mei school, as Mei Lan Fang a paradigm and which is spread most, has the most inheritors and is the first one to go abroad to perform and wins the international reputation for Beijing Opera, and is seemed to be the greatest contribution to the Chinese Opera. This research is aimed at the Mei school, and it is started on the basis of Mei Lan Fang's life and artistic style to explore the essences about the Chinese Opera actors and the relationships between his performing and his role. According to these, the research would like to inspect and discuss again on the transformations of the original artistic style and looks, influenced on the inheritances of the school, or the personal talent and social experiences of the performing artists.