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作 者:胡胜[1] Hu Sheng
机构地区:[1]辽宁大学文学院,辽宁大连11000
出 处:《南开学报(哲学社会科学版)》2023年第1期107-114,共8页Nankai Journal:Philosophy,Literature and Social Science Edition
基 金:国家社会科学基金重大项目(17ZDA260);辽宁省“兴辽英才计划”哲学社会科学领军人才项目(XLYC1804012)。
摘 要:作为“中国戏曲的活化石”,现存莆仙戏传统剧目中有大量“西游戏”。以仙游本“西游戏”为代表的这批作品,不仅声腔、表演独具地方特色,内容上亦不乏百回本小说未能涵括者。更引人瞩目的是,某些情节昭示其秉承了传统西游故事作为科仪文的“超度”功能,而这些恰是百回本小说取材与行文中被弱化乃至芟薙的部分。这些戏曲作品宗教功能的隐现,不仅暗合了戏曲的本源——祭祀与超度,也标示了西游故事独特的传承。作为场上之文学,莆仙戏《西游记》超越了一般的同题故事叙事文本,与宝卷等科仪文一道,承载的度化功能在一般文本单纯的娱人指向之上,更多了一份娱神(鬼)的特定意义。明乎此,以百回本小说作为核心参照系,重新勾画西游故事独特的发展轨迹,《西游记》研究将别有洞天。As“the living fossils of Chinese operas”,there are plenty of pieces about the Journey to the West in the existing traditional pieces of the Puxian Opera.These pieces represented by the opera about the Journey to the West in the version of Xianyou,not only embodied the local characteristics in intonations and performance,but also included those which had been covered by the hundred chapters of the novel in the content.Significantly,some details in these pieces inherited the tradition of stories in the Journey to the West functioning as rituals of purgatory.However,these were weakened and diminished in the hundred chapters of the novel.The religious function of these theatrical pieces not only coincided with the origin of drama-sacrifice and purgatory,but also represented the unique inheritance of stories in the Journey to the West.As literature performed on stages,the Puxian opera Journey to the West surpassed the narrative text of the same story.Just like the ritual texts such as Baojuan(宝卷),the purgatory function it carried went beyond the dimension of entertainment of common texts and added a specific one to entertain Gods(spirits).As such,if the unique development trajectory of stories in the Journey to the West could be re-outlined with stories in the hundred chapters of the novel as the reference system,a new perspective would be provided in the study about the Journey to the West.
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