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作 者:王艳芳 李唯 WANG Yanfang;LI Wei
机构地区:[1]江苏师范大学文学院
出 处:《戏剧艺术》2023年第4期86-92,93,94,共9页Theatre Arts
基 金:国家社科基金一般项目“新马华文文学与中国当代文学关系研究”(19BZW111)的阶段性成果。
摘 要:在互文性理论视域中,白先勇的小说《游园惊梦》、话剧《游园惊梦》、昆曲青春版《牡丹亭》都是一种元文本的存在,而汤显祖的《牡丹亭》则是那个不断被引用、借鉴、嵌套、隐喻的潜文本。在其互文性关系中,“游园”“惊梦”不仅构成各自文本的重要部分,成为叙事推进的情节关键;而且重塑了人物性格及其精神特质,深度渲染了故事的氛围和情调,形成独立自足的艺术世界。最为重要的还在于,它深度诠释了创作者对于兴衰之变、家国离散的情感文化意蕴。经由《牡丹亭》,与白先勇创作构成互文性的潜文本可以一路追溯至洪昇的《长生殿》、孔尚任的《桃花扇》、曹雪芹的《红楼梦》,直至白居易的《长恨歌》等中国文学传统中以“儿女之情”寄“兴亡之感”的经典一脉。正是白先勇创作中的互文性新质,唤醒了人们对经典的再认识,经典也因被重新赋能而得以复活。From the perspective of intertextuality theory,Pai Hsien-yung's novella Wandering in the Garden,Waking from a Dream,the play adaptation of the novella,and the youth edition of Kunqu Peony Pavilion are all metatexts,while Tang Xianzu's Peony Pavilion is the hidden text that is constantly quoted,referred to,recycled,and analogized.In the intertextual relationship,“Wandering in the Garden”and“Waking from a Dream”not only constitute an important part of the respective texts,but also become the key to the narrative progress;moreover,they reshape the characters'personality and spiritual characteristics,deeply render the atmosphere and emotional appeal of the story,and form an independent and self-sufficient artistic world.Most importantly,they show Pai Hsien-yung's emotional and cultural implications for the rise and fall of a nation,and the separation of home and country.In addition to Peony Pavilion,the hidden intertextual text of Pai Hsien-yung's creations can be traced all the way back to Hong Sheng's Palace of Eternal Life,Kong Shangren's Peach Blossom Fan,Cao Xueqin's A Dream of Red Mansions,and even Bai Juyi's Song of Eternal Sorrow.It is typical of the Chinese literary tradition to embody the rise and fall of a nation in the story of young lovers.It is the new intertextuality in Pai Hsien-yung's creations that awakens a new understanding of the classics,and the classics are revived through the empowerment of new creations.
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