观点荟萃 Viewpoints Collection

黑龙江省文联主席傅道彬

如今，学术研究的面貌发生了重要的改变，考据实证的解决方法，以计算机为代表的手段进入了学术领域，学术研究更加强调技术的规范、论证的严谨和成果录入的准确清晰。这样的研究具有一定的合理性，但不能成为淡化思想的理由。一些学者只热衷于资料收集，忽视了理论辨识。其实，真正的学术，不仅是技术性的，更是思想性的、理论性的，考据里面没有思想做引导是支撑不起来的，技术条件下完成的引证也不是真正意义的引证，一些材料必须经过思想的过滤和理论的消化。

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.

香港亚洲演艺研究艺术总监毛俊辉

今天的戏曲剧本，在提供戏曲表演艺术空间的同时，是否更需要仔细考虑创作的核心价值是什么？故事的精神是否与现代人生活体验有连接或对比的地方？叙述或编排的手法又能否令观众感觉合情合理、自然投入？至于怎样向国外的观众推介中国的戏曲，形式是一回事，但剧本只要有思想内容、有可演性可观性、能打动观众，形式根本不是一个问题。反而一些与时代脱节、虚无缥缈或是为新而新、空洞无聊的新创作，不管哪里的观众都很难接受。

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.

内蒙古大学艺术学院副院长宋生贵

在当代新的经济、文化背景之下，对少数民族艺术进行包括审美文化资源在内的自觉整合与调适是必需和重要的。其中，特别是要寻求并激活在当代新的背景之下发展各少数民族艺术的因子和机缘，并在文化层面上获得新的生长点。当代艺术批评在这方面应该有所作为，如以其理论的自觉，在切实掌握少数民族艺术资源的基础上，分析其在当代背景下实现有效生存和发展的需要；在倡导并营造多元共生的当代文化景观中认识不同少数民族艺术的美学价值。

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.

广东省作协主席蒋述卓

文化传统是一个民族稳定的精神基座，文化传统要完成现代价值的创造性转化，离不开当代文艺评论的批评实践。一方面，从文化脉络来说，强调文化传统与当代社会的接轨与融合，是对中国文化传统之根的体认与再造，也是当代社会弘扬文化传统以及中华民族文化复兴的题中之义；另一方面，文化传统作为一种精神和思想资源，应该以其继承性与超越性，成为当代思想文化建设的重要精神来源，进而对当代文艺理论的本土建构产生积极影响。而这必须建立在文化传统与当代文艺评论之间的互动与对话之中。

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.

台湾“中华广播电视节目制作商业同业公会”理事长汪威江

回顾15年两岸影视交流，可以划分为五个阶段：第一阶段， 1988年到1999年，是两岸在引进、协拍、合拍上合作交流最风光的年代；第二阶段，2000年国家广电总局颁布“关于进一步加强电视剧引进、合拍和播放管理的通知”，对合拍、引进做出了严格的限制；第三阶段，自2008年1月1日起给予两岸合拍剧享受国产剧的待遇，得以在黄金时段播出；第四阶段，2011年11月30日“关于进一步推进两岸广播影视界加强合作交流”的四项新措施出台；第五阶段，由于竞争力不足、新媒体冲击等原因，台湾电视剧退出大陆传统电视市场。

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.

澳门大学中文系主任朱寿桐

我们的文艺批评，有一种文化的间性，不同的艺术和文体之间，有其区别和联系，评价尺度也是不一样的。所以，我们要重新调整文艺批评的逻辑。文艺批评的学术性写作，有可能离开批评家的本体感受。如果仅仅将文艺批评理解成学术研究，文艺批评就会走入一个困境：文章越来越不好看，除非要仔细校对才看。文艺评论家要对文艺所表现的社会和文明作出富有个性的解读，让文艺批评写作充满诗性、充满魅力；要以与文学艺术有间性关系的审美写作，来超越死板的经院批评，让文艺批评的本体更加丰富。

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.

澳门科技大学人文艺术学院院长张志庆

文化传承和国家形象塑造，必须面对两个趋势，第一个趋势是中国的崛起，中国的国家形象日益受到国内和国际的关注。第二个趋势是全球化的进程，尤其是进入互联网时代后，除了经济全球化、政治全球化，还具有文化全球化的强大趋势。而文化全球化带来文化的同质化。在今天，文化不是一个物理的概念，需要在混合的、流动的话语当中去考察。我们要强调文化传承是国家形象塑造的前提。我们要充分认识到文化及其认同的历史性，调整力量，同时强调学术的力量、民间的力量和年轻人的力量，利用新媒体，来寻求文化传统的现代转换。

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.

上海市文艺评论家协会主席汪涌豪

文艺评论当然要昭示批语主体的文化立场。当今中国的文艺评论要发展，没有自己原创性的发明与自洽性的体系建设，而一味张皇西方的理论、西式的论证肯定是不行的。相反，必须坚持主体的自我主张，让自己的理论构造能接续上自来的传统，并在此基础上求得进一步的扩充与延展。其间，努力开显文艺评论的“汉语性”显得尤其重要。所谓“汉语性”不仅指传统文艺批评皆用汉语书写，故需符合汉语的逻辑与规范；乃至也不仅指基于这种逻辑与规范，今天的文艺批评应当在批评的用语与方式上更多顾及传统趣味，体现传统的格调与意境。

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.

台湾师范大学讲座教授刘国松

世界上分东西两大画系，东方画系是水墨画，西方画系是油画。虽然两大画系所用材料和技法，在呈现的作品上看，有很多不同之处，但它们有一个人类的共同点，就是艺术家对精神的追求。在绘画形式上，从写实到写意，到抽象概念的表现，两个画系的发展不同。我们曾有一个伟大的绘画传统，为何后来会没落？西方把中国艺术元素发扬光大，我们为何不自己把传统发扬光大？画家不要小看自己，画家和科学家是一样的，都是人类文明史的创造者。画室也是实验室，画家要考虑如何将新的思想、新的技法落实在作品上。

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.

香港一新美术馆总监杨春棠

博物馆教育于19世纪下半叶传入上海，发展至今，无疑，博物馆已被公认为负起社会教育、终生学习的文化场所。博物馆的教育范围当然不限于文物和艺术品。我们的博物馆应该有一个重要使命，就是保育和推广中华文化。这“中华文化”是广义的，包括古和今、传统和现代、历史、艺术、科学以至中外文化交流。博物馆应设法鉴别展品，评论展品，找出展品的文化背景。政府和民间机构应共同参与文博事业，各适其式。只要善用人力物力，任何大、小博物馆都可以对中华文化的发展作出贡献。

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.

澳门大学教育学院副教授张泽珣

中国彩塑艺术为我们留下无数处的世界文化遗产，因较多显示地域的特色，我们甚至无法寻觅到很具体的外来影响。然而，如果将中国彩塑置于历史的脉络中，并对其造型、图像、主题内容等进行比较研究的话，我们就能发现中国彩塑的发展，通过古代丝绸之路的往来交流，是如何吸收外来文化的，同时中国的文化艺术通过丝绸之路传播和影响着西方。以新疆龟兹石窟艺术作为讨论主体，可以找出龟兹石窟艺术与印度、希腊和伊朗文化的关系，也可以看到中原文化艺术对龟兹的影响，同时通过丝绸之路传播至西方。

ZHANG Zexun (Associate Professor，Faculty 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.

北京舞蹈学院教授金浩

谈到中国古典舞蹈的当代审美鉴赏，我认为有五方面内容需要把握：身韵对于传统舞蹈“破神入形”的特征提取、中国古典舞“形神劲律”的审美法则、把握传统韵律展开“变奏”、侧重写意的纯舞性“意蕴”和敬惜历史文化资源“整合”。每个人都有着对中国古典舞蹈精神不同的理解与感知，舞蹈意味着超逸的渴望，它穿越了艺术的斑斓时空，让整个生命随之舞动起来，使自己获得支配生命的热情。正是因为“舞蹈的工具”人人皆有，人们才会对中国传统舞蹈艺术出现新的审美期待。

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.

黑龙江省文联副主席于文秀

当今时代，文化的一个突出特点，就是界限的内爆——各种场域、事物、现象乃至理论都模糊不清，不再界限分明。原创与模仿、文学与娱乐之间难以分辨，尤其是媒介成为中心和强权，更多地干预着文学场中的结构和规则，甚至改变着文学的走向。在媒介干预下的文学，审美取向和标准也趋同娱乐界的标准，年轻主义和性感美学，成为“70后”“80后”众多女作家的文化资本和杀手锏。“70后”“80后”作家在经过年龄、经验、思想的沉淀后，应该有更深的思考和超越，不委身于物化时代的绑架，走出物化时代的荫蔽。

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.

台北艺术大学戏剧系教授钟明德

陶身体剧场的跨文化魅力在于其舞者“活生生的身体”——观众在了解舞者身体行动所传达的意义之前，就已经被某种很原始的、非日常的能量攫获了。剧场创始人陶冶反复强调“重复”“极致”“无聊”和“信仰”，他藉由“重复”这种减法来去除掉身体的日常习性，让身体活过来，产生斯坦尼斯拉夫斯基和葛罗托斯基两位大师所谈到的“有机性”——身体处于一种高度敏感活泼、能量充沛的状态。斯坦尼斯拉夫斯基、葛罗托斯基和巴尔巴的论述为所有的前卫艺术创作者——包括陶冶——指出一条直通“本质体”的艺术大道。

ZHONG Mingde (Professor, Theatre Department of Taipei University of the Arts)The trans-cultural attraction of Tao Dance Theatre lies in the “living 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.

香港艺发局委员及艺术评论组主席卢伟力

中国文化视“体”“相”“用”为万事万物的理则，意象是体用的中介，而这三种理亦互相联系。意象普遍存在于东西方，因此，用意象来分析也许可调和东西方批评传统的差异。在中国，意（意思）、言（表达）、象（意象）是一个概念的三面。它们虽然看来有点含混，关系却不复杂。而读者或听众首先接收的是作者的言，从而得象，继而得作者之意。因此中国意象学派有说法谓“得象忘言，得意忘象”之说。总之，中国现代戏剧在东西方交汇的文化氛围下，在传统与现代的辩证过程中，可能性很多，中国学派的戏剧分析将会有更大的发展。

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.