“潘金莲”何以成为“新潘金莲”——以欧阳予倩《潘金莲》为中心  

How“Pan Jinlian”became“New Pan Jinlian”:A Study on Pan Jinlian written by Ouyang Yuqian

作　　者：蒋春红[1] Jiang Chunhong

机构地区：[1]对外经济贸易大学中国语言文学学院

出　　处：《文学与文化》2024年第4期90-99,共10页Literature and Culture Studies

基　　金：国家社科基金重大项目“欧阳予倩文献深度发掘整理、研究及数据库建设”(批准号:21&ZD350)阶段成果;对外经济贸易大学“中央高校基本科研业务费专项资金资助项目”(20JX05)阶段成果。

摘　　要：本文从新的视角分析了欧阳予倩《潘金莲》一剧的创作中传统“潘金莲”形象如何成为“新潘金莲”,即这部作品如何从各个方面实现全面创新,包括思想意识方面宣扬“爱”的主题以及对“力与美”的崇拜,内容方面书写场景的重新选择和清晰的剧种意识,人物形象方面潘金莲形象的去淫化和主体意识以及其他角色的改编,表演方面白话剧化影剧化以及大胆的动作设计,形式方面分幕制、舞台布景的写实化以及话剧语言的口语化等。By introducing the performance and historical context of Ouyang Yuqian's Pan Jinlian,this paper analyzes from a new perspective how the traditional image of“Pan Jinlian”has become“New Pan Jinlian”,that is,how this piece of theatrical writing has been comprehensively innovated in all aspects.It includes the theme of“love”in consciousness and the worship of“power and beauty”in content,the re-selection of the writing scene and the clear sense of the play,the derealization of the character image of“Pan Jinlian”and the main body consciousness,and the adaptation of other roles,the dramatization of the performance and the bold action design,the split-screen system in form,the realism of the stage setting.and the colloquial language of the play.

关 键 词：欧阳予倩 《潘金莲》 潘金莲形象 戏剧创新 去淫化 

分 类 号：I20[文学—中国文学]