“屈原戏”剧目谱系的审美意识形态考察  

An Investigation of the Aesthetic Ideology of Repertoire Pedigree of the Dramas on Qu Yuan

作　　者：郭丰涛[1] Guo Fengtao(College of Liberal Arts,Nantong University,Nantong 226019,China)

机构地区：[1]南通大学文学院,南通226019

出　　处：《复旦学报(社会科学版)》2025年第2期64-72,共9页Fudan Journal(Social Sciences)

摘　　要：对于屈原作品流露的“怨情”及其投江的悲剧结局,古今“屈原戏”采取不同的改造路径。古代剧作家在屈原投江后增设“神仙化”情节,消解屈原投江的悲剧能量,将个体怨情融于君贤臣忠的儒家伦理秩序,符合“大团圆”的审美传统以及“怨而不怒”的诗教规范。现代剧作家摒弃“神仙化”情节,叙事终止于屈原投江,同时,将屈原的“怨情”推向具有突破性力量的“怒”,如此借助投江悲剧凝聚起巨大的具有反抗意志的情感能量。继之,植入自我、国族、人民等现代性话语,“屈原戏”完成现代转型,为现代中国建设与改革提供重要的精神资源。古今“屈原戏”创作取径看似迥异,实皆契合主流的文化政治规范,屈原丰富的个体价值及其投江悲剧未获深剖。Regarding the"resentment"revealed in Qu Yuan's works and the tragic ending of throwing himself into the river,the ancient and modern dramas on Qu Yuan have adopted different transformation paths.Ancient playwrights added"deification"plot after Qu Yuan threw himself into the river,dispelling the tragic energy of Qu Yuan's drowning,and dissolving individual resentment into the Confucian ethical order of virtuous kings and loyal ministers,in line with the aesthetic tradition of"happy reunion"and the poetic teaching norm of"resentful but not angry."Modern playwrights abandoned the"deification"plot and ended the narrative with Qu Yuan's drowning.At the same time,they pushed Qu Yuan's"resentment"to the breakthrough power of"anger."In this way,the tragedy of drowning in the river condenses a huge will to resist of emotional energy.Subsequently,by implanting modern discourses such as self,nation,and people,the dramas on Qu Yuan completed modern transformation and provided important spiritual resources for the construction and reform of modern China.The creative approaches of the ancient and modern dramas on Qu Yuan seem to be very different,but in fact they all conform to the mainstream cultural and political norms.Qu Yuan's rich individual value and the tragedy of his drowning in the river have not been fully explored.

关 键 词：屈原戏 剧目谱系 戏剧功能化 审美意识形态 

分 类 号：I20[文学—中国文学]