“神”“魔”之变:新中国戏曲剧目中女性原型阐释  

The Change of “God” and “Devil”: Interpretation of Female Archetypes in New Chinese Operas

作　　者：周涛[1] ZHOU Tao(School of Arts,Huangshan University,Huangshan 245041,China)

机构地区：[1]黄山学院文学院

出　　处：《湖州师范学院学报》2020年第1期64-72,共9页Journal of Huzhou University

基　　金：安徽省哲学社会科学规划项目“安徽当代地方戏曲剧目民俗记忆研究”(AHSKY2016D154)

摘　　要：新中国戏曲中的女性形象通过"神女"和"魔女"两种原型人物沟通了历史记忆,其塑造过程体现为既可以凭借原型所提供的审美资源形成对于她们的接受,又可以通过其"更新"功能生长出新的精神意蕴:20世纪五六十年代更多强调政治意识形态意义;新时期随着"人"的意识的觉醒和现代性精神的张扬,戏曲中的女性形象从单向走向立体,其中凝聚了人们对于女性的生存处境、生命形态以及启蒙、科学、人性、反封建、妇女解放等时代话语更深刻的认知与表达,增强了戏曲的审美表现力;面对改革开放深入及市场经济大潮涌动的新形势,女性形象复归美善合一的戏曲传统,重新点亮凝聚在原型人物中的道德和文化之光,彰显中国式审美情境、理想的存在与力量。The female images in New China opera communicate historical memories through two prototype characters, "Goddess" and "Witch", and the shaping process is reflected in the fact that they can form their acceptance by virtue of the aesthetic resources provided by the prototype, as well as through their prototypes. The "renewal" function has a new spiritual meaning which shifted the emphasis on the political ideological significance in the 1950 s and 1960 s to the awakening of the "human" consciousness and the publicity of the modernity spirit in the new era, and the female images in operas changed from single to a three-dimensional aspect, which condenses people’s deeper understanding and expression of women’s living conditions, life forms, and discourses of the times of enlightenment, science, humanity, anti-feudalism, and women’s liberation, enhancing the aesthetic expression of opera;In the new situation of deepening reform and opening up and the tidal current of the market economy, the female image is restored to the traditional opera tradition of beauty and goodness, re-lighting the moral and cultural light condensed in the prototype characters and showing the Chinese-style aesthetic situation, ideal existence and power.

关 键 词：新中国戏曲 女性原型 政治意识形态 现代性 道德伦理 

分 类 号：I207.301[文学—中国文学]