觀點薈萃 Viewpoints Collection

黑龍江省文聯(lián)主席傅道彬

如今，學術研究的面貌發(fā)生了重要的改變，考據(jù)實證的解決方法，以計算機為代表的手段進入了學術領域，學術研究更加強調技術的規(guī)范、論證的嚴謹和成果錄入的準確清晰。這樣的研究具有一定的合理性，但不能成為淡化思想的理由。一些學者只熱衷于資料收集，忽視了理論辨識。其實，真正的學術，不僅是技術性的，更是思想性的、理論性的，考據(jù)里面沒有思想做引導是支撐不起來的，技術條件下完成的引證也不是真正意義的引證，一些材料必須經(jīng)過思想的過濾和理論的消化。

FU Daobin (President of Heilongjiang Federation of Literary and Art Circles)Currently great changes have taken place in the outlook of academic research. Digital measures represented by computer technology have entered our academic research as a solution for textual criticism and concrete evidence, and thus standard technology, strict procedure of argument and accuracy in data input are more stressed. Though there is a certain reasonable ground, such measures should never provide for ignorance of our thinking. Some scholars, though keen on collecting materials,are hardly concerned with theoretical judgment. As a matter of fact, the true academic research is more of thinking and theory than of technology. Without the backbone of theory and thinking, any evidence in argument over with the updated technology conditions, will never constitute a genuine proof. Some materials must be digested and filtered through our thinking and theory.

香港亞洲演藝研究藝術總監(jiān)毛俊輝

今天的戲曲劇本，在提供戲曲表演藝術空間的同時，是否更需要仔細考慮創(chuàng)作的核心價值是什么？故事的精神是否與現(xiàn)代人生活體驗有連接或對比的地方？敘述或編排的手法又能否令觀眾感覺合情合理、自然投入？至于怎樣向國外的觀眾推介中國的戲曲，形式是一回事，但劇本只要有思想內容、有可演性可觀性、能打動觀眾，形式根本不是一個問題。反而一些與時代脫節(jié)、虛無縹緲或是為新而新、空洞無聊的新創(chuàng)作，不管哪里的觀眾都很難接受。

MAO Junhui (Art Supervisor of Asian Performing Arts Studio in HK)

While providing art space for Chinese traditional opera performance, shall today’s playwrights give a second thought of the core values of their creation? Do their stories have any connection with or contrast against the contemporary living experience? Do their ways of narration or choreography bring the audiences into a natural and reasonable plot like their vivid life? Art form seldom hinders our introduction of Chinese traditional operas to overseas audiences so long as the plot is blessed with significant thoughts, interesting tastes and touching points. However, those so-called 'new creation', in absence of reality, of void contents and boring novelty will invariably be refused by audiences worldwide anywhere.

內蒙古大學藝術學院副院長宋生貴

在當代新的經(jīng)濟、文化背景之下，對少數(shù)民族藝術進行包括審美文化資源在內的自覺整合與調適是必需和重要的。其中，特別是要尋求并激活在當代新的背景之下發(fā)展各少數(shù)民族藝術的因子和機緣，并在文化層面上獲得新的生長點。當代藝術批評在這方面應該有所作為，如以其理論的自覺，在切實掌握少數(shù)民族藝術資源的基礎上，分析其在當代背景下實現(xiàn)有效生存和發(fā)展的需要；在倡導并營造多元共生的當代文化景觀中認識不同少數(shù)民族藝術的美學價值。

SONG Shenggui (Vice President of Art College of Inner Mongolia University)

In the current economic and cultural background, it is necessary and important to make integration and adjustment on arts of minority nationalities, including aesthetic cultural resources. Particularly, it is a must to find and revitalize the key point, and opportunities to develop various arts of minority nationalities,and achieve a new growing point in culture, to which the contemporary art criticism shall make its own contribution. For example, on the basis of mastery of art resources of minority nationalities, art critics shall consciously provide an analysis on how to fulfill the survival and development in the current context,and enable readers to understand the aesthetic values of minority nationalities by advocating and establishing harmony of varied cultures and arts.

廣東省作協(xié)主席蔣述卓

文化傳統(tǒng)是一個民族穩(wěn)定的精神基座，文化傳統(tǒng)要完成現(xiàn)代價值的創(chuàng)造性轉化，離不開當代文藝評論的批評實踐。一方面，從文化脈絡來說，強調文化傳統(tǒng)與當代社會的接軌與融合，是對中國文化傳統(tǒng)之根的體認與再造，也是當代社會弘揚文化傳統(tǒng)以及中華民族文化復興的題中之義；另一方面，文化傳統(tǒng)作為一種精神和思想資源，應該以其繼承性與超越性，成為當代思想文化建設的重要精神來源，進而對當代文藝理論的本土建構產(chǎn)生積極影響。而這必須建立在文化傳統(tǒng)與當代文藝評論之間的互動與對話之中。

JIANG Shuzhuo (President of Guangdong Writers Association)

As a spiritual foundation of national stability, cultural traditions must be creatively transformed with the contemporary values, which is indispensible with the critical practice in contemporary literature and arts.On the one hand, stress on the connection and integration of cultural traditions with the current society is considered to be confirmation and innovation of the traditional merit, of Chinese culture as well as a significant purpose to promote cultural tradition in the current society as well as the cultural rejuvenation of Chinese nation. On the other hand, as a kind of spiritual and thinking resource, cultural tradition,shall survive the time passage and become a key source for contemporary ideological and cultural construction, and then exert a positive impact upon the native constructions of contemporary theory on literature and arts. Of course, this process must be realized in the dialogues and interaction between cultural traditions and contemporary literary and art criticism.

臺灣“中華廣播電視節(jié)目制作商業(yè)同業(yè)公會”理事長汪威江

回顧15年兩岸影視交流，可以劃分為五個階段：第一階段， 1988年到1999年，是兩岸在引進、協(xié)拍、合拍上合作交流最風光的年代；第二階段，2000年國家廣電總局頒布“關于進一步加強電視劇引進、合拍和播放管理的通知”，對合拍、引進做出了嚴格的限制；第三階段，自2008年1月1日起給予兩岸合拍劇享受國產(chǎn)劇的待遇，得以在黃金時段播出；第四階段，2011年11月30日“關于進一步推進兩岸廣播影視界加強合作交流”的四項新措施出臺；第五階段，由于競爭力不足、新媒體沖擊等原因，臺灣電視劇退出大陸傳統(tǒng)電視市場。

WANG Weijiang (President of Chinese Broadcast and TV Production Guild in Taiwan)

In retrospect of the past 15 years of film and TV exchange across the Straits, five periods can be obviously seen. Period One (1988-1999) was the prime time for introduction, co-production and production assistance across the Straits. Period Two started from the year 2000 when State Administration of Film,Radio and Television stipulated a strict restriction on introduction and co-production. Period Three starts from January 1, 2008 when the co-production of TV dramas were allowed to be on show at daily prime time as those local productions. Period Four started from November 30, 2011 when four new measures of “Further Promotion in Radio, Film and TV Cooperation and Exchange across the Straits” were issued.In Period Five, due to lack of competitiveness and for challenges of new media, Taiwan TV dramas had to give up the conventional TV market of Mainland.

澳門大學中文系主任朱壽桐

我們的文藝批評，有一種文化的間性，不同的藝術和文體之間，有其區(qū)別和聯(lián)系，評價尺度也是不一樣的。所以，我們要重新調整文藝批評的邏輯。文藝批評的學術性寫作，有可能離開批評家的本體感受。如果僅僅將文藝批評理解成學術研究，文藝批評就會走入一個困境：文章越來越不好看，除非要仔細校對才看。文藝評論家要對文藝所表現(xiàn)的社會和文明作出富有個性的解讀，讓文藝批評寫作充滿詩性、充滿魅力；要以與文學藝術有間性關系的審美寫作，來超越死板的經(jīng)院批評，讓文藝批評的本體更加豐富。

ZHU Shoutong (Dean of Chinese Language Department of Macao University)

Our literary and art critical essay is blessed with a cultural compatibility. Between varied arts and writing styles, there are differences and connections, and measures for evaluation vary as well. Thus, we need to readjust the logic of literary and art criticism. The mere academic research atmosphere will probably neglect the critic’s subjective feelings and make the essay too boring to read. Critics should provide an individual interpretations about society and civilization in literature and arts, with poetic interess and humanist attration. Only those critical essays of compatible aesthetics can surpass the stereotyped academic thesis and enrich the contents of literary and art criticism.

澳門科技大學人文藝術學院院長張志慶

文化傳承和國家形象塑造，必須面對兩個趨勢，第一個趨勢是中國的崛起，中國的國家形象日益受到國內和國際的關注。第二個趨勢是全球化的進程，尤其是進入互聯(lián)網(wǎng)時代后，除了經(jīng)濟全球化、政治全球化，還具有文化全球化的強大趨勢。而文化全球化帶來文化的同質化。在今天，文化不是一個物理的概念，需要在混合的、流動的話語當中去考察。我們要強調文化傳承是國家形象塑造的前提。我們要充分認識到文化及其認同的歷史性，調整力量，同時強調學術的力量、民間的力量和年輕人的力量，利用新媒體，來尋求文化傳統(tǒng)的現(xiàn)代轉換。

ZHANG Zhiqing (Head of Humanity and Arts College of Macao University of Science and Technology)

Before inheriting culture and establishing national image, we must face two tendencies. Firstly, with the revival of China, China’s national image has received an increasing attention both at home and abroad.Secondly, the process of globalization, especially in the Internet age, is gaining more power in economy,politics and culture. The cultural globalization has caused identical presentation in varied cultures.Currently, culture is no longer a physical concept and needs to be examined in the mixed and dynamic context. We must stress that cultural inheritance is the very prerequisite for establishing national image.Fully aware of cultural and historic power, we must rely on academic research, massive participation and youth passion to realize the contemporary interpretation of cultural tradition in the carrier of new media.

上海市文藝評論家協(xié)會主席汪涌豪

文藝評論當然要昭示批語主體的文化立場。當今中國的文藝評論要發(fā)展，沒有自己原創(chuàng)性的發(fā)明與自洽性的體系建設，而一味張皇西方的理論、西式的論證肯定是不行的。相反，必須堅持主體的自我主張，讓自己的理論構造能接續(xù)上自來的傳統(tǒng)，并在此基礎上求得進一步的擴充與延展。其間，努力開顯文藝評論的“漢語性”顯得尤其重要。所謂“漢語性”不僅指傳統(tǒng)文藝批評皆用漢語書寫，故需符合漢語的邏輯與規(guī)范；乃至也不僅指基于這種邏輯與規(guī)范，今天的文藝批評應當在批評的用語與方式上更多顧及傳統(tǒng)趣味，體現(xiàn)傳統(tǒng)的格調與意境。

WANG Yonghao (President of Shanghai Literary and Art Critics Association)

In any literary and art criticism, the critic’s cultural position must be obvious. Without original patent and coherent system construction, the mere imitation of Western theories and arguments will find no way to develop China’s contemporary literary and art criticism. On the contrary, any critic’s ideal must be adhered to so as to integrate his or her own theory into the tradition and then achieve a further expansion and development. Particularly, it is extremely important to highlight our “Chinese-style” criticism on literature and arts. “Chinese-style” means that all critical essays must be written in the Chinese language and in accordance with mandarin logic and grammar. Moreover, the traditional aesthetics, tastes and elegance should be restored in the ways of expression and composition.

臺灣師范大學講座教授劉國松

世界上分東西兩大畫系，東方畫系是水墨畫，西方畫系是油畫。雖然兩大畫系所用材料和技法，在呈現(xiàn)的作品上看，有很多不同之處，但它們有一個人類的共同點，就是藝術家對精神的追求。在繪畫形式上，從寫實到寫意，到抽象概念的表現(xiàn)，兩個畫系的發(fā)展不同。我們曾有一個偉大的繪畫傳統(tǒng)，為何后來會沒落？西方把中國藝術元素發(fā)揚光大，我們?yōu)楹尾蛔约喊褌鹘y(tǒng)發(fā)揚光大？畫家不要小看自己，畫家和科學家是一樣的，都是人類文明史的創(chuàng)造者。畫室也是實驗室，畫家要考慮如何將新的思想、新的技法落實在作品上。

LIU Guosong (Guest Professor of Taiwan Normal University)

There are two divisions in the world painting. The oriental division is characterized by water and ink while the occidental division is featured by oil painting. Despite many differences in adopted materials,techniques and ways of presentation between the two divisions, artists’ spiritual pursuit becomes the common ground of mankind. As for painting forms, realistic expression evolves into freehand and even abstract conception, which showcases the different developments of the two divisions. We were once blessed with a great tradition in painting, and we need to ponder over the reason why we are now left behind. While our western peers make full use of Chinese elements in arts, why can’t we revive our own tradition in the current canvas? We should never underestimate our values as any painter, just like a scientist, is the creator of human civilization history, and his or her studio is just like a lab for scientists new experiments. What a painter needs to consider how to present new ideas and skills in their aitistic.

香港一新美術館總監(jiān)楊春棠

博物館教育于19世紀下半葉傳入上海，發(fā)展至今，無疑，博物館已被公認為負起社會教育、終生學習的文化場所。博物館的教育范圍當然不限于文物和藝術品。我們的博物館應該有一個重要使命，就是保育和推廣中華文化。這“中華文化”是廣義的，包括古和今、傳統(tǒng)和現(xiàn)代、歷史、藝術、科學以至中外文化交流。博物館應設法鑒別展品，評論展品，找出展品的文化背景。政府和民間機構應共同參與文博事業(yè)，各適其式。只要善用人力物力，任何大、小博物館都可以對中華文化的發(fā)展作出貢獻。

YANG Chuntang (Director of Sun Museum in HK)

Museum education was introduced to Shanghai in the latter half of the 19thcentury and so far has been commonly recognized as a cultural venue for social education and lifetime learning. Certainly, the educational scope of a museum shall never be limited within relics and artifacts. Our museum should shoulder solemn responsibility to preserve and promote Chinese culture. In a macroscopic definition,Chinese culture involves ancient times and the current age, tradition and modernity, history, arts, science and exchanges between China and the world. Museums should endeavor for genuine exhibits, provide captions and discover the cultural background for each exhibit. Government and nongovernmental organizations should commonly participate in museum education in their own way. In a proper manner, any museum, regardless of its size, can make its own contribution to the development of Chinese culture.

澳門大學教育學院副教授張澤珣

中國彩塑藝術為我們留下無數(shù)處的世界文化遺產(chǎn)，因較多顯示地域的特色，我們甚至無法尋覓到很具體的外來影響。然而，如果將中國彩塑置于歷史的脈絡中，并對其造型、圖像、主題內容等進行比較研究的話，我們就能發(fā)現(xiàn)中國彩塑的發(fā)展，通過古代絲綢之路的往來交流，是如何吸收外來文化的，同時中國的文化藝術通過絲綢之路傳播和影響著西方。以新疆龜茲石窟藝術作為討論主體，可以找出龜茲石窟藝術與印度、希臘和伊朗文化的關系，也可以看到中原文化藝術對龜茲的影響，同時通過絲綢之路傳播至西方。

ZHANG Zexun (Associate Professor，F(xiàn)aculty of Education，Macao University)

Chinese painted sculpture has left us numerous world cultural heritages, but due to its apparent regional locality, it is exceedingly hard for us to find a clue concerning specific influence from outside world.However, in the historical context, a comparative study of its figure, image, theme and contents will enlighten us on how Chinese painted sculpture absorbed foreign cultures through exchanges along the ancient Silk Road to attain development. In the meanwhile, the Silk Road enabled Chinese culture and arts to reach the West and exert a significant influence. For example, the discussion on Qiuci Grotto Art in Xinjiang demonstrates the relationship of this art with the cultures of India, Greece and Iran, as well as the impact of culture and arts from Central China that was spread to the West through the Silk Road.

北京舞蹈學院教授金浩

談到中國古典舞蹈的當代審美鑒賞，我認為有五方面內容需要把握：身韻對于傳統(tǒng)舞蹈“破神入形”的特征提取、中國古典舞“形神勁律”的審美法則、把握傳統(tǒng)韻律展開“變奏”、側重寫意的純舞性“意蘊”和敬惜歷史文化資源“整合”。每個人都有著對中國古典舞蹈精神不同的理解與感知，舞蹈意味著超逸的渴望，它穿越了藝術的斑斕時空，讓整個生命隨之舞動起來，使自己獲得支配生命的熱情。正是因為“舞蹈的工具”人人皆有，人們才會對中國傳統(tǒng)舞蹈藝術出現(xiàn)新的審美期待。

JIN Hao (Professor of Beijing Dance Academy)

When mentioning the contemporary aesthetic appreciation of Chinese classical dance, I think that the following five points must be taken into consideration: dancer’s figure charm in highlighting role’s feature, aesthetic law of “Figure, Charm, Momentum and Rhythm”, variation of traditional rhythm,freehand spiritual vision in pure dance, and respectful integration of historical and cultural resources. As everyone gains a different understanding and knowledge of the spirit of Chinese classical dance, dance means aspiration for transcendence over the brilliance of arts as well as domination of vitality while dancing through the whole life. With their bodies always available for dance, people naturally show new aesthetic expectation towards the traditional Chinese dance art.

黑龍江省文聯(lián)副主席于文秀

當今時代，文化的一個突出特點，就是界限的內爆——各種場域、事物、現(xiàn)象乃至理論都模糊不清，不再界限分明。原創(chuàng)與模仿、文學與娛樂之間難以分辨，尤其是媒介成為中心和強權，更多地干預著文學場中的結構和規(guī)則，甚至改變著文學的走向。在媒介干預下的文學，審美取向和標準也趨同娛樂界的標準，年輕主義和性感美學，成為“70后”“80后”眾多女作家的文化資本和殺手锏?！?0后”“80后”作家在經(jīng)過年齡、經(jīng)驗、思想的沉淀后，應該有更深的思考和超越，不委身于物化時代的綁架，走出物化時代的蔭蔽。

YU Wenxiu (Vice President of Heilongjiang Federation of Literary and Art Circles)One of the most outstanding features of culture is the blurred limitation of different domains in our times, which has caused similar blurred phenomenon and theory. It is increasingly hard to tell original ideas from imitation or literature from entertainment. Particularly when media becomes the powerful ceuter, it interferes with the structure, rule and tendency of literature more and more frequently. In this circumstance, the criterion and aesthetics of literature become identical with that of entertainment.Priority of youth and sex attractions has become the cultural capital as well as trump card of massive women writers who were born in the 1970s and 1980s. However, instead of being kidnapped by this material age, those women writers wsll harvest their experience and thinking with the adracement of their sge and achieve a profound transcendence.

臺北藝術大學戲劇系教授鐘明德

陶身體劇場的跨文化魅力在于其舞者“活生生的身體”——觀眾在了解舞者身體行動所傳達的意義之前，就已經(jīng)被某種很原始的、非日常的能量攫獲了。劇場創(chuàng)始人陶冶反復強調“重復”“極致”“無聊”和“信仰”，他藉由“重復”這種減法來去除掉身體的日常習性，讓身體活過來，產(chǎn)生斯坦尼斯拉夫斯基和葛羅托斯基兩位大師所談到的“有機性”——身體處于一種高度敏感活潑、能量充沛的狀態(tài)。斯坦尼斯拉夫斯基、葛羅托斯基和巴爾巴的論述為所有的前衛(wèi)藝術創(chuàng)作者——包括陶冶——指出一條直通“本質體”的藝術大道。

ZHONG Mingde (Professor, Theatre Department of Taipei University of the Arts)The trans-cultural attraction of Tao Dance Theatre lies in the “l(fā)iving bodies” of dancers because the audiences have been carried away by such primitive and unusual power before they comprehend the message conveyed by dancers’ body language. TAO Ye, the founder of Tao Dance Theatre, always stresses upon “repetition”, “extreme”, “boredom” and “faith”. By means of “repetition”, he intends to reduce the daily mechanism, to revitalize the body’s energy and to realize the “organic status”—a body condition of high sensitivity and full energy, which was mentioned by such two masters as Stanislavski and Grotowski. Such elaborations by Stanislavski, Grotowski and Barba have pointed out a straight passage to the essence of arts for all avant-garde artists, including TAO Ye.

香港藝發(fā)局委員及藝術評論組主席盧偉力

中國文化視“體”“相”“用”為萬事萬物的理則，意象是體用的中介，而這三種理亦互相聯(lián)系。意象普遍存在于東西方，因此，用意象來分析也許可調和東西方批評傳統(tǒng)的差異。在中國，意（意思）、言（表達）、象（意象）是一個概念的三面。它們雖然看來有點含混，關系卻不復雜。而讀者或聽眾首先接收的是作者的言，從而得象，繼而得作者之意。因此中國意象學派有說法謂“得象忘言，得意忘象”之說?？傊袊F(xiàn)代戲劇在東西方交匯的文化氛圍下，在傳統(tǒng)與現(xiàn)代的辯證過程中，可能性很多，中國學派的戲劇分析將會有更大的發(fā)展。

LU Weili (Member and Chair of Artistic Critics of Hong Kong Arts Development Council)

In Chinese culture, “body”, “phenomenon” and “function” are three inter-related dimensions of everything in the world, within which “vision” in its further is the medium of “body” and “function”. As a universal concept available in the East and the West, “vision” analysis may ease the differences between critical traditions of the East and the West. In China, meaning, expression and vision are three aspects of a concept.Despite blurred definitions, those three have a less complicated relationship. Readers or listeners will receive expression first, and then vision and finally meaning, which is witnessed in an old Chinese saying “meaning over vision and vision over expression”. In a word, in a cultural atmosphere of integration between the East and the West and in the dialectical course of tradition and modernity, there will be far more possibilities in China’s contemporary theatre, and therefore Chinese scholars’ theatre analysis will witness a higher development.