【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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2010年6月7日 | 归档于 纸上得来终觉浅
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