从文南词《苏文表借衣》看发迹变泰剧的演变  

Evolution of Wen Nan CI"Su Wen Biao Jie Yi"Into a Thai Opera

作　　者：郭聪 GUO Cong(Anhui University,Hefei,Anhui Province,230000)

机构地区：[1]安徽大学艺术学院,安徽合肥230000

出　　处：《宁波开放大学学报》2021年第2期118-122,共5页Journal of Ningbo Open University

基　　金：国家社科基金艺术学重大项目“新中国成立70周年中国戏曲史(安徽卷)”(18ZD08)。

摘　　要：传统剧目《苏文表借衣》作为文南词的独有剧目一直在舞台上盛演不衰,这一戏剧故事的演变更绽放出独特光彩。20世纪50年代整理的手抄本和2010年高荣生改编本两个版本的《苏文表借衣》在题材上均沿袭了传统发迹变泰题材戏曲中"明辱暗助"的情节模式,并在此基础上有了新的突破。在戏曲发迹变泰的叙事疆域内,手抄本《苏文表借衣》突破以"被辱者"为主体的固有叙述方式,将大量篇幅聚焦"激励者"身上,形成观感上的主体置换,表达出符合时代的主题思想;同时,在这一模式不断发展和创作主体变化情况下,叙事策略较同题材古代戏曲故事有了较大差异;至现代,2010年新编本《苏文表借衣》较旧版手抄本重又回到"被辱者"为主体,赋予其劝善教化的时代意义和女性关注。As a unique play of Wennan CI,the traditional play"Borrowing Clothes from Su Wenbiao"has always been performed on the stage.The manuscripts compiled in the 1950's and the two editions adapted by Gao Rongsheng in 2010 all follow the traditional plot pattern of the rise and fall of the Thai drama And on this basis there has been a new breakthrough.In the narrative territory of the rise and prosperity of Chinese opera,Su wen-biao,a hand-written script,broke through the traditional narrative mode of taking the victim as the main body,focusing a large number of pages on the stimulator,forming the subjective replacement in the sense of feeling and expressing the theme of the times.At the same time,under the situation of the continuous development of this mode and the change of the creative subject,the narrative strategy is quite different from the ancient drama stories with the same theme.In 2010,the new edition of"Su Wen biao borrows clothes",compared with the old edition,returned to the subject of"the insulted",giving it the significance of the times and women’s attention.

关 键 词：明辱暗助 主体置换 民间叙事 浪子回头 

分 类 号：I207.3[文学—中国文学]