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固本与开新
中文摘要

本文所言“新时期”是指我国从1978年中共十一届三中全会召开至今的历史进程,“新时期黄梅戏”即是指我国进入“改革开放”时代以来的黄梅戏。 黄梅戏是我国“五大剧种"之一,这一地位主要是进入新时期以后才获得的,在许多地方戏纷纷凋零的情况下,新时期黄梅戏却能“逆势生长”,这种现象值得理论界关注,故本文以新时期黄梅戏为研究对象。 本文之所以以现代化探索为切入点,是基于以下认识和考量:坚持进行现代化探索既是黄梅戏的优良传统——20世纪50-60年代黄梅戏的“梅开一度”正是陆洪非、时白林、严凤英、王少舫等剧作家、音乐家、表演艺术家坚持不懈地进行现代化探索的成果,也是新时期黄梅戏的突出特点——新时期黄梅戏的代表人物剧作家金芝、音乐家陈精耕、演员马兰、韩再芬、黄新德、蒋建国、杨俊、张辉等无不是现代化探索的倡导者和践行者,同时,也是我国两百多个尚且存活的戏曲剧种共同面临的时代课题,以此为切入点,能抓住新时期黄梅戏的“牛鼻子”,对其他地方戏的当代生存与未来发展亦不无借鉴意义。对新时期黄梅戏的现代化探索进行系统研究的专著目前尚未面世,以此为切入点具有一定的开拓性。 本文除《绪论》和《结语》之外共分五章。 《绪论》就选题缘起、本课题的研究价值、研究的历史与现状以及创新之处等展开论述; 第一章论述新时期黄梅戏现代化探索的语境,四个现代化、戏曲改革以及非遗保护的时代语境对新时期黄梅戏现代化探索的理论指引、探索历程和探索途径等有不同程度的影响; 第二、三两章分前后两期论述新时期黄梅戏现代化探索的历程,1978-1997年为前期,1998-2015年为后期; 第四、五两章就新时期黄梅戏现代化探索的两种途径——“固本”与“开新”分别展开论述,力图比较全面深入地把握论题。 在1978-1997年的前期探索中,有40多部现代戏,最值得关注的是抚摸“文革”伤痕、聚焦当下社会、礼赞近代风骨的一些剧目,这些剧目体现了现代戏的现代性追求。其中,《风尘女画家》取得的成就较为突出,它表现了出身于青楼的女画家张玉良对思想自由、人格独立的执着追求。这一时期的新编古装戏数量占明显优势,而且其剧目的质量和影响也超过现代戏。尽管古装戏表现的是古人的生活,但剧作家却用现代意识和眼光去观察、解读和呈现所摄取的生活现象,表达现代人的生存体验,追求思想蕴涵的现代性,其中,《斛擂》一剧是这一时期影响较大的作品。剧写中英《烟台条约》将芜湖口岸割让给英帝国,为了控制粮食运输的主动权,赶走控制粮运但又不顺从英国殖民者的芜湖米市斛主赵大江,英国驻芜湖领事为夺取米市控制权,策划较斛打擂赛,打擂前,英国领事暗中雇地痞流氓打伤赵大江,使其无法应赛,但在紧急关头,其妻苏月英代夫应赛,并大获全胜,维护了我国对米市的控制权。剧作洋溢着抵御外侮的民族豪情,女主人公苏月英富有鲜明的抵御外侮、追求民族独立、维护民族尊严的现代精神气质,是黄梅戏人物画廊中的新形象,对时代风云的描绘也使黄梅戏的风格类型得以拓展——清新自然、质朴平易之外又添豪壮奇崛、威武雄壮。马兰主演的《红楼梦》的现代化探索也取得了较高成就,使之进入了新时期黄梅戏代表剧目的行列,此剧通过主人公贾宝玉的意识流动和心灵外化建构剧情,全剧是身披红色袈裟行走在雪地里的宝玉心灵的外化,其表现向度也由传统的关注人物外在的动作或独特的性格,转向烛照人物的内心世界,主要笔墨落在了宝玉对精神自由的追求,以及这一追求所遭受的沉重打击与巨大挫折上。《红楼梦》还借鉴了西方现代戏剧习用的象征手法,身披红色袈裟的宝玉像一团火,但这团“火”却是在冰雪中“燃烧”,象征宝玉所追求的精神自由与他所处的环境之间势如冰炭。送花神的歌舞表面上欢快热闹,其实它和黛玉葬花的悲凄情景一样,象征着大观园的衰败——送走花神也就意味着百花凋零。典雅富丽的大观园实际上是牢笼的象征,是封建末世的象征,它扼杀了人——特别是宝玉、黛玉等新生代的自由意志。表现手法的刷新和表现向度的转移赋予了剧目一定的现代色彩——用精神自由等现代意识重新阐释文学名著,强化了剧作的现代性。这一时期的黄梅戏还进行了跨文化改编,据莎士比亚同名喜剧改编的《无事生非》秉持“改形不改意”的原则,成功地进行了跨文化实验,其本土化的改编方式获得观众与专家的一致认同,其“既姓莎,又姓黄”——亦即既忠于原著,又保持剧种基本特色的艺术追求对其他剧种的跨文化改编具有引领与指导作用。 1998-2015年的后期探索是前期探索的延伸,但探索的步伐迈得更大,例如,在赋予剧目以现代蕴涵时,追求哲理性,重在传达创作主体的生命体验,有的甚至有意避免前期探索中明确清晰的题旨传达,使剧作的蕴涵具有朦胧性、多义性和不确定性;又如,在进行跨文化改编时,拿黄梅戏做“颠覆性试验”,与百老汇的音乐剧嫁接,立志打造黄梅戏的新形态——黄梅戏音乐剧,不过,这种探索并不是很成功,其横向借鉴流于简单拼贴、混搭,援入剧中的新的文化元素未能化入黄梅戏的符号体系之中;这一时期的现代化探索在借鉴西方现代艺术的同时,对本土文化的接纳也更加自觉,徽州与鄂东的历史文化名人以及标志性的文化成果大多被搬上黄梅戏舞台,志在“擦亮地方文化名片”,“徽字牌"、“鄂字牌”举得很高;为了探索舞台呈现的新形式,大量引入“圈外”导演、舞美和服装设计师,音乐走向交响化,实力较强的黄梅戏院团的乐队不仅有传统的多种民族乐器,还有小提琴、大提琴、低音提琴、铜管、木管、钢琴、架子鼓等组成的交响乐队,同时还有电声及电子合成器(midi)构成的电子合成乐队,创作演出了多部“交响黄梅戏”,其中以《严凤英》、《乾隆辨画》、《李四光》、《徽州女人》、《徽州往事》等最具代表性。这些剧目的音乐气势磅礴,恢弘大气,奔放有力,雄浑厚实,与《打猪草》、《天仙配》、《女驸马》等传统剧目中田园牧歌式的音乐已大不相同。 这一时期,安徽省的黄梅戏创作上了一个台阶,这主要表现在新创剧目数量多,质量也有明显提高上。安徽省的新创剧目近百部,其中,影响较大或引起广泛关注的新编剧目超过10部,《徽州女人》和《雷雨》成为新时期黄梅戏的代表作,《徽州女人》的成就尤其突出。此剧虽然是悲剧,但剧中并无坏人,不像习见的思想倾向、题旨蕴涵十分明确、以“反封建”为旗帜的剧目,所以人们对它的解读也就歧见纷呈。有人认为它形式上很现代,思想蕴涵却很陈腐,有人则认为其内蕴“非常具有现代感”,有人甚至称此剧为“对中国近现代史进行深入反思的优秀作品……使戏曲界在思想观念水平上远远滞后于其他文化领域的状况,出现了一丝变化的曙光。”此剧有意避开社会政治批判和道德谴责的传统做法,运用西方现代戏剧所重的哲理思考方法,追求思想蕴涵的朦胧性、多义性、不确定性。这一创作方法和审美取向是基于对现代人追求深度、崇尚独立思考的认识,也是基于对艺术主体性的认知。其凝重、含蓄、深沉的风格,与传统黄梅戏自然、清新、轻松、活泼的主导风格明显不同,对黄梅戏风格的拓展具有积极意义。此剧也是“徽字牌”的代表作,徽文化特色相当浓郁。新时期黄梅戏出现《徽州女人》这样的作品,标志着我国的戏剧创作进入了追求思想深度和艺术主体性的新阶段,其现代化探索不仅对黄梅戏的发展有积极意义,对其他剧种如何进行现代化探索也提供了成功的经验。 1998年以来,湖北省的黄梅戏创作演出也相当活跃,“鄂派”黄梅戏初具规模,影响较大的新编剧目是《传灯》、《李时珍》和《妹娃要过河》,其中,尤以《妹娃要过河》的成就最为突出。此剧剧情虽然落入俗套,但剧中将湖北利川民歌《龙船调》、土家族的哭嫁歌、解邪歌、八宝铜铃舞、茅古斯舞、摆手舞等音乐歌舞,以土家织锦西兰卡普制成的青丝头帕、镶边筒裤、八幅罗裙、左襟大褂、琵琶襟等土家服饰,吊脚楼等土家建筑等文化元素融入剧中,主要演员的表演技艺超群,舞台呈现颇为生动鲜活,观赏性强,将鄂西土家族的音乐舞蹈融入生长于长江中下游的黄梅戏之中,丰富了黄梅戏的表现手段,拓展了黄梅戏的风格,可谓黄梅戏历史上的一大创举。 新时期黄梅戏的现代化探索以固本与开新为基本途径。文化的“现代性”— —特别是审美的现代性与以求新为目标的科学技术的现代性不同,是变动性与永恒性的对立统一,是传统与时尚的交会,永恒与时尚一样,也是文化现代性——特别是审美现代性的重要目标或重要构成,时尚性未必只能通过历史的中断和传统的颠覆来实现,时尚性一旦背离永恒性和经典性就会落入速朽性。固本与开新是一种张力关系,所谓张力是指相反方向相互牵引的力量,亦即相互矛盾又相互吸引的力量,二者是一种动态的平衡关系。就艺术而言,“现代”与“传统”、“新”与“旧”、“暂时”与“永恒”未必是对立的,“现代”并不意味着典范性的“过去”与不断向前的“现在”相割裂,旧的可以在新的之中延续甚至强化,传统也可以在“当下”、“时尚”中重现,传统可以被超越,但不可能被抛弃。因此,对传统的尊重、敬畏、仰慕、捍卫也是文化现代性——特别是艺术现代性的重要内涵。新时期黄梅戏是在回归传统与走向现代的双重牵制中前行的,固本与开新都是新时期黄梅戏现代化探索的重要路径,固本体现的是剧种的主体性原则,开新体现的是剧种的开放性原则,舍弃固本,等于毁灭自我,拒绝开新,意味着切断与时代的联系,停止吐纳,终结生命。在新时期黄梅戏的现代化探索中,固本是开新的前提,固本与开新互涉互渗。新时期黄梅戏在固本方面采取的具体措施主要有:对唱腔与唱念声韵传统的坚守、不断改编上演传统剧目、新创剧目以古装戏为主。开新与基于“反传统”的“创新”并不完全相同,是指在传统基础上的新发展,亦即在保持传统特色的基础上锻造新的时代特征,新时期黄梅戏开新的具体措施主要有:灌注时代精神、拓展题材范围、更新创作手法、刷新舞台艺术和与现代传媒结缘等。 关键词:新时期黄梅戏;戏曲现代化;非遗保护;剧种学

英文摘要

"The new era" in this paper refers to the historic stage from the 3rd Plenary Session of the 11th Central Committee of the Communist Party of China in 1978 to the present, and "Huangmei opera in the new era" the opera after China moved into the reform and opening-up era. Huangmei opera is one of the five major operas in China. It didn't acquire this status until in the new era. When many local operas went into decline one after another, Huangmei was flourishing against the trend. This phenomenon is worth the attention from the academia and for this reason this dissertation takes Huangmei opera in the new era as the subject for research. The reasons why the research begins with the modernization of Huangmei opera are as follows. First, modernization is a fine tradition for Huangmei—its first boom, from the 1950s to the 1960s, has been the result of the relentless modernization efforts undertaken by the playwrights, musicians and performers such as Lu Hongfei (playwright), Shi Bailin (composer), Yan Fengying and Wang Shaofang (actors). Second, modernization is the opera's distinguishing feature in the new era—it has been advocated and put into practice by all the leading artists, including Jin Zhi (playwright), Chen Jinggeng (musician), and Ma Lan, Han Zaifen, Huang Xinde, Jiang Jianguo, Yang Jun and Zhang Hui (actors). Third, modernization is a historical task faced by nearly 100 surviving operas. Therefore, by beginning the research with modernization, this paper deals with the most prominent feature of Huangmei opera in the new era, and may shed some light on the survival and future development of other local operas. Besides, no book has done a systematic research on this topic yet, which makes this paper pioneering. Beside the preface, this paper contains 5 chapters. The preface deals with genesis, value, history, current status and newness of the research. Chapter 1 describes the contexts for modernizing Huangmei opera: "the Four Modernizations", opera reform, intangible cultural heritage protection. These historical contexts have influenced, to different extents, the theoretical guidance for, the process and ways of Huangmei modernization. Chapters 2 and 3 address respectively the two stages in the modernization process: the first stage from 1978 to 1997 and the second from 1998 to 2015. Chapters 4 and 5 deal respectively with the two ways of Huangmei modernization: maintaining tradition and embracing modernity. These two chapters aim at providing an extensive and in-depth exploration of this topic. During the first stage (from 1978 to 1997), among 40 works on modern life, the ones that most deserve our attention are those that dressed "the Cultural Revolution wounds", called attention to the modern society and lauded the modern people's strength of character. These modern-life works embody the pursuit of modernity.《风女画家》(The Prostitute Painter), one of the outstanding works, features the persistent quest of a prostitute painter Zhang Yuliang for freedom of thought and independence. In the new era, adapted ancient-costume operas considerably not only outnumbered modern-life works, but also achieved better qualities and greater influences. Ancient-costume operas depicted lives of ancient Chinese, but their lives were observed, interpreted and presented through the lens of a modern mind. What the playwrights really explored was modern people's life experiences and modern themes. 《斛擂》 was one of the influential operas in this stage. The plot of the opera is as follows: the Chefoo Convention opened Wuhu as a treaty port to Britain. To control the transportation of rice, the British Consul at Wuhu had to get rid of Zhao Dajiang, the person in charge of rice transportation and measuring the volume of rice in Wuhu rice market, because he refused to cooperate with the British colonists. The consul proposed open challenge match to choose a winner who could control the market. Before the match, the consul secretly hired local gangsters to beat up Zhao and made him unfit for the match. At the critical moment, his wife Su Yueying took on the challenge on his behalf and made a clean sweep, thus retaining control of the rice market. The opera was permeated with heroic patriotism of resisting foreign aggression. The female protagonist showed a strong modern people's disposition to resist foreign aggression, seek for national independence and safeguard national dignity. She added a new image to Huangmei opera's character gallery. By depicting the epochal events, this opera also enrich Huangmei opera genres—with its fresh and unaffected, simple and plain, and at the same time, epic and grand, mighty and powerful style. Dream of the Red Chamber, starred by Ma Lan, was also a remarkable success in modernizing the opera, and became one of the most well-known works in the new era. Its plot unfolded around the mind of Jia Baoyu, the main protagonist, and the extemalization of his mind. Throughout the opera, he was walking on snow in a red monk's robe—this image being a reflection of his mind. This opera shifted the expressive dimension from focusing on characters' movements or unique personalities, to their inner mental world. The opera mainly focused on Baoyu's pursuit of spiritual freedom and the great blow and setbacks that he encountered. The opera also adopted symbolism, a commonly-used practice in contemporary Western operas. Bayou in red robe looked like a fireball that was burning in icy snow, the fireball being a symbol for spiritual freedom and the snow the environment he was put in. The songs and dances in the part of sending away the flower fairy were happy and cheerful, but like the sad scenes for Daiyu burying flowers, they were also a symbol for the decline of the Grand View Garden. The magnificent Grand View Garden was actually a symbol for a cage or the twilight years of feudalism. It murdered people, and in particular, the free will of the new generation. The new expressive techniques and shifted expressive dimension gave this opera its modernity—interpreting famous literature works with modern mentality like spiritual freedom. Huangmei operas in this era also went through cross-cultural adaptation.《无事生非》(Much Ado about Nothing), adapted from Shakespeare's comedy with the same name, followed the principle of "changing the form but not the meaning". It was a success in experimenting cross-cultural adaptation. Both the audience and experts think highly of the way in which the comedy was localized. It embodies the features of both Shakespeare and Huangmei opera—it is faithful to the original play, and at the same time, retains the basic features of Huangmei opera. Such artistic pursuit provides guidance for cross-cultural adaptation of other opera genres. The second stage of modernization (1998-2015) was a continuation of the first one, but the pace was faster. When giving the operas a contemporary theme, for instance, the playwrights embraced philosophy and shared their own life experiences. Some even intentionally abstained from the clear conveyance of a theme, making the theme vague, multi-faceted and uncertain. Another example is the radical experiment of grafting Huangmei onto Broadway musicals and building a new form of Huangmei opera—Huangmei musical. But this exploration was not successful. Grafting seemed too simple. The new cultural elements did not blend with Huangmei opera. Besides using modern Western art as reference, Huangmei opera also became more open to local cultures. The famous historical figures and intellectuals in Huizhou and the east of Hubei province have become characters on Huangmei stage, to make known the local brand names of Huizhou and Hubei province. Directors, scenic designers and fashion designers from "other backgrounds" were invited to explore new ways to present the operas on stage. The music becomes symphonic: well-equipped troupes not only play traditional Chinese instruments, but even include symphony orchestras with players of strings (violin, cello, contra-bass), brass, woodwinds, pianos and drum sets, and an electronic music groups with electronic musical instruments and MIDI. The troupes have staged many "symphonic Huangmei operas", and the most famous ones include《严凤英》(Yan Fengying),《乾隆辨画》(Qian Long Bian Hua), 《李四光》(Li Siguang),《徽州女人》(Huizhou Women),《徽州往事》(Old Stories of Huizhou). Unlike the Idyllic music in traditional works like《打猪草》(Da Zhu Cao),《天仙配》(The Heavenly Match),《女驸马》(Emperor's Female Son-in-law), music in these theater works were grand-sounding, energetic, dynamic and throbbing with vigor. In the second stage, Huangmei opera composition in Anhui province reached a new level: a large number of new works with improved quality have come out. More than 10 out of nearly 100 newly-adapted operas were influential and received wide attention. 《徽州女人》(Huizhou Women) and 《雷雨》(Thunderstorm) became representative works in the new era, with Huizhou Women being the most outstanding one. Though it was a tragedy, there were no bad men in this opera. It was nothing like the other commonly seen works: they have a clear-cut ideology or theme—opposing feudalism. Therefore, people have varied interpretations on this opera. Some think it has modern forms but an obsolete theme; some regard its theme as very modern; some even referred to it as "an excellent work that encourages deep reflection on the modern history of China", and "to the theatrical world that fell behind other cultural circles in ideology, it brought a ray of hope for change." The opera intentionally abstained from the tradition of social and political criticism or moral condemnation, but instead embraced philosophical thinking, which modern western operas tend to value, and explored vague, multi-faceted and uncertain themes. Such tendency in opera composition and aesthetics was attributable to the composers' understanding of the modern men's advocacy of depth and independent thinking, as well as their understanding of artistic subjectivity. The opera's somber, reserved and profound style was distinct from traditional mainstream operas, which were fresh and light-hearted. Therefore it had positive implications for exploring new styles. With its distinctive features of Huizhou culture, this opera also represented "the Huizhou brand". Its appearance in the new era indicated that opera composition in China had entered a new stage of pursuing depth of thought and artistic subjectivity. Such attempts to modernize Huangmei opera were not only conducive to its own development, but also provided successful experience for modernizing other operas. Since 1998, many operas have been composed and staged in Hubei province. "The Hubei brand" was beginning to take shape. Some influential newly-adapted works include 《传灯》(Chuan Deng),《李时珍》(Li Shizhen) and 《妹娃要过河》 (Meiwa to Cross the River), the last being the most successful one. Despite its conventional plot, it was indeed a mixture of Tujia folk songs, folk dances, costume and cultural elements. Examples for their folk songs and dances include:《龙船调》 (Dragon Boat Melody, folk song in Lichuan city Hubei province),哭嫁歌(Tujia people's Crying Marriage songs),解邪歌(expelling-evil-spirits songs),八宝铜铃舞(Babao Copper Bell Dance), 茅古斯舞(Maogusi),摆手舞(Hand-waving Dance); Examples for their costumes include:土家织棉西兰卡普制成的青丝头帕(blue silk head cloth made with Tujia brocade called xilankapu), 镶边筒裤(braid-trimmed wide-legged pants),八浮罗裙(braid-trimmed dress made with 8 cloth-strip),左襟大褂(a big jacket with buttons on the left),琵琶襟(Pipa Lapel); examples for cultural elements were wooden house projecting over the water. Extraordinary acting skills demonstrated by the main actors and lively scenic designs are a real feast to the eyes. The songs and dances of Tujia minority groups in the west of Hubei province blended with Huangmei opera that originated from the middle and lower reaches of the Yangtze River. Huangmei opera took on new forms of dramatic expression and new styles. Meiwa to Cross the River can be regarded as one of the pioneering works in the Huangmei history. The two ways of Huangmei modernization in the new era are: maintaining tradition and embracing modernity. Cultural "modernity" and in particular aesthetic modernity differs from modern science and technology, which seeks innovation, in that cultural modernity, is a unity of eternity and volatility and a mixture of tradition and novelty. Novelty is an important target or component for cultural "modernity" and for aesthetic modernity in particular, and the same goes to eternity. Interrupting history or breaking tradition is not necessarily the only way to achieve novelty. Novelty that deviates from eternity and classicism will soon decay. Maintaining tradition and embracing modernity are like tension forces: they push for opposite directions but also pull towards each other; their relationship is that of a dynamic balance. In terms of arts, modernity and tradition, novelty and antiquity, transience and eternity are not necessarily opposite. Modernity does not denote separation of the typical "past" and the ongoing "present". "The old" can be extended and even reinforced in "the new"; tradition can resurface in the present or novelty. Tradition can be surpassed but should not be abandoned. Therefore, cultural modernity, and artistic modernity in particular, also denotes respect, reverence, admiration for tradition and preservation of tradition. In the new era, Huangmei opera strikes a balance between the needs to return to tradition or the need to march towards modernity: both are important ways of modernization. Keeping tradition alive makes Huangmei subjective, whereas embracing modernity renders it inclusive. Abandoning tradition will lead to self-destruction; refusal to embrace modernity will cut off its connection with the times, and there will be no more input or output for the opera, which implies the end of its life. In the new era, the opera should maintain tradition before it can embrace modernity. The two paths often intersect with each other. The following things are done to return to tradition: preserve traditional voice and rhythm in its vocal music (changqiang唱腔),adapt and stage classic works, make sure that newly-written operas are mainly ancient-costume operas. Embracing modernity is not exactly the same as "tradition-breaking innovation", but instead refers to new development on top of tradition, or exploring new era features on top of maintaining traditional ones. The following things are done to embrace modernity: apply Zeitgeist, expand themes, renew literary devices in opera composition, produce better scenic designs and employ modern media. Key words: Huangmei opera in the new era, modernization of operas, intangible cultural heritage protection, study of opera genre

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