三代“南来文人”的清宫想象——以《清宫秘史》《倾国倾城》《德龄与慈禧》为例  

Three Generations of Mainland Literati Imagining the Qing Palace in Hong Kong: Taking Sorrows of the Forbidden City, The Empress Dowager, and Deling and Cixi as Examples

作　　者：熊之莺 Xiong Zhiying

机构地区：[1]复旦大学中国语言文学系

出　　处：《戏剧（中央戏剧学院学报）》2023年第1期138-150,共13页Drama:The Journal of the Central Academy of Drama

摘　　要：中国香港影片《清宫秘史》(1948年)、《倾国倾城》(1975年),以及话剧《德龄与慈禧》(1998年)各自风靡一时。三部作品从三种不同的视角讲述了同一段历史,具有显见的亲缘性。朱石麟与姚克的珍妃是一位“英雄”;李翰祥则颠覆前作,塑造了抑郁而不愚昧的慈禧;何冀平又在此基础上引入“内在的他者”—德龄。四位创作者在不同情势下由内地赴港,分属三代“南来文人”,作品中的清宫想象也折射出不同的“北望”姿态。《清宫秘史》仍是海派文化的“借地还魂”;李翰祥在经历了社会动荡后竭力剔除作品的政治涵义,在《倾国倾城》中展现出“恋物癖”式的历史怀想;何冀平则在历史转折之际重新召回政治意味,将《德龄与慈禧》作为其理想的“九七”答卷。The Hong Kong films Sorrows of the Forbidden City(1948), The Empress Dowager(1975), and the play Deling and Cixi(1998) were each a hit. The three works have a visible kinship and tell the same historical story from three different perspectives. Zhu Shilin and Yao Ke portrayed Consort Zhen as a “heroine”. Li Hanxiang subverted the previous work to create a depressed but rather insightful Cixi. And on the basis of these, He Jiping introduced Deling as an “inner other”. The four creators belong to three generations who came to Hong Kong from the mainland under different circumstances. The imagery of the Qing Palace in their works reflects their different gestures of looking back to the mainland. Sorrows of the Forbidden City is still a continuation of the Shanghai-style culture. After experiencing the social upheaval, Li Hanxiang struggled to remove the political connotations from his work, displaying a “fetishistic”historical nostalgia. He Jiping, on the other hand, recalled the political implication at a time of historical turnaround, taking Deling and Cixi as her ideal response to the Return of Hong Kong.

关 键 词：清宫秘史 倾国倾城 德龄与慈禧 南来文人 文化意味 

分 类 号：J82[艺术—戏剧戏曲]