莫言戏曲剧作中的“剧体糅合”辨析  

Analysis of“Theatrical Genre Fusion”in Mo Yan's Xiqu Works

作　　者：李玫[1] LI Mei

机构地区：[1]东南大学人文学院

出　　处：《戏剧艺术》2024年第6期171-182,共12页Theatre Arts

基　　金：国家社科基金项目“近三十年中国小说本土话语建构中的传统戏曲影响研究”(17BZW192)的后期成果。

摘　　要：与对莫言小说创作反应的机敏深入相比,评论界迄今为止对其戏曲剧本的回应堪称絾默。戏曲剧作的出现,不仅仅是其个人创作版图的拓展。真正富有吸引力的,是其中蕴含着大半个世纪以来戏曲发展的丰富复杂的美学向度,在传统地方戏的基本形态内,糅合了话剧、现代戏曲、戏曲现代戏等诸多旨趣与语法,体现出“剧体糅合”的特点。不加辨析地以传统戏曲美学指标为参照对其定位,在逻辑上是可疑的;而简单指认某些品质来自话剧研习同样容易流于粗疏。直面并深入清点其中的盘根错节,辨析不同时段美学规则和修辞策略的相遇、博弈、对接与交融,梳理创作主体的取舍、转化与整合,方能对其作为个案的价值做出更为科学和理性的评价与预期。Compared to the insightful and in-depth responses to Mo Yan's novels,the commentary on his Xiqu scripts has been notably sparse.The emergence of his Xiqu works is not merely an expansion of his personal creative landscape.What is truly compelling is the rich and complex aesthetic dimensions contained within the genre,reflecting over half a century of development in Xiqu.Within the basic forms of traditional local theatre,Mo Yan blends various pleasures and grammar from Huaju,modern Xiqu,and modernized traditional Xiqu,showcasing the characteristic of“theatrical genre fusion”.Using traditional Xiqu aesthetic criteria as a reference point for positioning these works raises logical issues.Likewise,simply attributing certain qualities to his study of Huaju risks oversimplification.To thoroughly and accurately assess the intricacies involved,one must confront and explore the encounters,competitions,integrations,and fusions of aesthetic rules and rhetorical strategies from different periods,as well as clarify the creative choices,transformations,and integrations of the author.This approach will enable a more scientific and rational evaluation and anticipation of their value as case studies.

关 键 词：莫言 戏曲剧本 剧体糅合 

分 类 号：J80[艺术—戏剧戏曲]