【杂谈】高低平，雅俗赏
前段日子听说某剧团要来学校演出，以为是所谓“高雅艺术进校园”活动，不免附庸风雅地想去一睹风采。到后才发现原来只是一个“环保文艺演出”，内容大众得不能再大众。最大众的一点是，开场前，照例听到了社会主义特色老师的谆谆教诲：“等下领导进场时，请大家站立鼓掌，表现出我们的热情！等到晚会散场时，请大家先不要离开剧场，让领导先走。”
整台演出看下来，我觉得，其实，除了女演员穿的环保点以外，别的没看出来很环保。倒是有一个川剧变脸后喷火的节目，让我联想到了克拉玛依。与我同来的两位友人，基本在得知此演出并非“高雅”后都很失望。我也有点，不过我对我为什么会感到失望更有兴趣。
其实我对于所谓的高雅艺术是没有任何鉴赏能力的，就像开头所说，我是附庸风雅而来。而什么是高雅艺术呢？记得沈语冰教授在某一次演讲说：所谓高雅艺术并不能光看形式，还要看内容。我们发现，经过了漫长的时间检验的古典艺术基本上都能称得上高雅艺术。 当然，还有人把高雅当做通俗的反义词，认为高雅就是大多数人所看不懂的形式。这个观点虽然有其道理，但在我看来它作为概念或判断还欠缺责任感。
我个人比较赞沈教授的定义，因为自亚里士多德开始，传统艺术已经形成了一种范式，那就是“开头——中间——结尾”的三段结构，并且当中还要插入一个明显的“高潮”。这个结构，就是标准的古典主义，而这种结构正反映了理性主义的自傲。自人类工业革命开始，这种理性主义就已经霸占了全部文化领域的制高点，包括艺术，符合这一结构并经过时间历练的艺术即为高雅艺术。
但时代在变，艺术的形式也在变。现代艺术作为一个运动在不断地破坏传统的形式。最显著的是发生在绘画和文学领域的“高潮的夷平”，在现代艺术中，我们已经难找到经典的“三角结构”。所谓高潮和低谷，被匀称的平原代替了。这势必在一定程度上也影响到我们对艺术的判定和鉴赏。
拿个现实的例子来说，在电视剧新《三国》里，往往出现不少“穿帮”台词，成为众人取乐的题材，还有人责问此艺术作品的严肃性，甚至于有人怀疑编剧的文化水准。我认为这都是不必要的。其实，在艺术创作中，并没有预先设定什么“帮”，所以也无所谓“穿帮”。这些“穿帮”，在我看来更像是编剧有意设定的。许多人认为这使得一部历史剧丧失了严肃性，这恰恰是一种以固有的传统艺术眼光去关照新生艺术的错误。这种思想一言以蔽之：厚古薄今。
我们的文化结构在变，艺术结构当然也在变，如此厚古薄今，恐怕不是件好事。
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