[郭玉琼]戏曲与国家神话
CNKI 中国博士学位论文全文数据库
戏曲与国家神话
Chinese Opera and State Myth
【作者】郭玉琼 【导师】周宁
【作者基本信息】厦门大学，戏剧戏曲学，2007年，博士
【中文摘要】 戏曲现代戏从延安时期到文革时期作为旧剧改革的成果凸显为共产党领导下的文艺的重要形式。它先后以延安秧歌剧和文革样板戏的形态在20世纪中国戏曲发展史,乃至社会政治文化史上占取了令人瞩目的特殊地位。戏曲现代戏在20世纪中国的渐次成熟化和中心化,既不是戏曲艺术内在发展的必然结果,也并非政治权力绘制国家文化蓝图时的偶然作为,而牵涉到戏曲艺术、现代民族国家建设,以及二者之间关系的一系列问题群落。在“戏曲与国家神话”这一论述题目下,本文关注的焦点是戏曲现代戏与现代民族国家建构之间的复杂关系。涉及的问题诸如:戏曲现代戏何为?何以是戏曲艺术,何以是“表现现代生活”题材构成了国家神话?戏曲现代戏如何构造国家神话?国家在构造自身神话的过程中,怎样改造了戏曲艺术,同时怎样改写了“现代生活”?戏曲艺术生于、长于的民间以怎样的态度、立场接受戏曲现代戏?戏曲现代戏对民间意识形态和日常生活又产生了怎样的作用?对这些问题的探讨求解必将使戏曲现代戏研究超越之前游移于艺术内部的狭隘、封闭的分析,以及比附于社会历史的空泛、庸常的论述,进入相对豁亮、深邃的言说境地,同时,也将意味着戏曲现代戏研究终于以学科专业的方式介入参与到中国现代社会政治、思想文化的公共议题的讨论中,从而构造出学科专业的研究与社会思想文化公共领域的接榫。本文前两章在界说研究对象戏曲现代戏的基础上,总论戏曲现代戏作为国家神话具有深厚的历史传统和深刻的现实基础等,并进一步考辨戏曲现代戏“表现现代生活题材”的规定性,发掘隐藏在“表现现代生活题材”背后的真正的意识形态特征和功能,说明在戏曲现代戏文本和舞台上,现代生活现实的投影一度稀薄浅淡乃至虚无,戏曲现代戏的题材映射出的,更多是民族国家的革命记忆书写与经济、社会乌托邦想象。后三章史论结合。首先在大众文艺的理论图景和实践景观这一线索下,梳理戏曲现代戏从延安时期的秧歌剧到文革时期的样板戏的历史和逻辑的发展。如果说,延安秧歌剧是20世纪由来已久的大众文艺理想的第一次成功实践,那么,文革样板戏则是大众文艺在20世纪的嬗变推进的极致表现。20世纪中国大众文艺的理论与实践事实上又总是蕴涵着国家神话的实质。延安秧歌剧与文革时期的革命样板戏作为大众文艺共同内蕴着国家神话性质,同时国家神话在这两个不同历史时期又具有不同的表现形式和运作方式等。要注意到的是,大众文艺并非已经为大众所拥有,却是有待创造的东西。戏曲艺术作为民间文化形态一旦随着大众文艺创造进入政治权力的视野,便终结了自身的自在状态,成为必须被予以改造的对象。以秧歌剧为主的延安文艺成了政治权力改造民间,创造大众文艺的典范。延安京剧现代戏和秦腔等陕北地方戏曲现代戏同样是延安时期改造民间文化形态的结果。这种改造的理念与做法一直贯穿于戏曲现代戏的发展历史,换言之,戏曲现代戏,在一定意义上,成为集中体现20世纪民间文化形态命运跌宕的标志性文本。文革样板戏,作为大众文艺的极致形态,同时作为戏曲现代戏的极致形态,也成为民间文化改造的极致形态。然而,尽管相对于政治权力与知识权力,民间总是处于被改造的弱势位置,却依然表现出顽强的自我保存的生命力。延安秧歌剧,直至文革样板戏的演剧形态最直观、生动呈现了戏剧与交织社会、政治、文化经纬的日常生活之间云翳不清的关系。延安时期轰轰烈烈的新秧歌运动,以及文革时期政权大力推行的普及样板戏运动,使大众文艺在广大民间成就了“天地大舞台”的盛景。秧歌剧和样板戏的广场性演出使戏剧舞台发生了无限的延伸。舞台表演不仅仅属于一种文艺事件,而且,深深嵌入并影响民间的日常感性生活,导致了戏剧的生活化和生活的戏剧化。舞台与生活同构交融的同时,是幻象与真实的难以辨识。政治权力借助戏剧精心编码的国家神话也就是这样长驱直入民间日常生活,以一整套特定的语言、动作、仪式表演等诸多方式牢牢宰制民间日常生活。舞台的延伸,戏剧与生活界限的溃决,导致了戏剧表演与社会政治之间一系列奇妙的合一,表演的政治性和政治的表演性分别成为戏剧艺术和政治生活的突出特点。有意思的是,正是在社会政治生活的“继续革命”的主题与“三突出”等清规戒律体现出的革命文艺的“自我驯
【英文摘要】 Modern Chinese opera became an important form of literature and art as the result of innovation of traditional Chinese opera leaded by Chinese communist from Yan’an period to Cultural Revolution period. Yongko drama and model drama, the two styles of modern Chinese opera made particular status in the development of Chinese opera, even in the history of Chinese social political culture in the 20th century. Modern Chinese opera’s becoming mature and important, was not the necessary result of the inner evolution of Chinese opera, nor the incidental ending of picturing the image of state culture by Chinese government, but involved a series of questions about Chinese opera,modern state and the relationship between them. With the theme of“Chinese opera and state myth”, the dissertation focuses its attention on the complicated nexus of modern Chinese opera and the building of modern state. Such questions are included: what did modern Chinese opera do? Why it was Chinese opera and modern life material that established state myth? How did modern Chinese opera establish state myth? How were Chinese opera and modern life changed by the state when it established its myth? How did the folk from which Chinese opera came into being and grew up accept modern Chinese opera? How did modern Chinese opera influence the ideology of the folk and its daily life? Trying to answer all these questions will bring the study of modern Chinese opera into a great space and enter the common argumentation about the Chinese modern social politics and thinking culture, while exceeding the former study limited to the analysis on the inner of modern Chinese opera or incidental to the superficial discussion of social history, thus make the specialized study contact with the public field of thinking culture.The first two chapters of this dissertation give a definition of modern Chinese opera, and argue generally the tradition and foundation of modern Chinese opera as state myth. Then see about the character of modern Chinese opera, which is said representing modern life. The ideology of modern Chinese opera will be found, that is writing memory of revolution and utopia image of economy and society. So it is clear that in the script and stage of modern Chinese opera, there were little reality.The last three chapters combine history and logic. Firstly, figure the development of modern Chinese opera from Yan’an period to Culture Revolution period. If yongko drama is said to be the success first time of mass literature and art in China in the 20th century, model drama is on the acme of it. And Chinese mass literature and art in the 20th century always contained the essence of state myth. Yongko drama and model drama are all state myth. But the representation and operation of state myth are different in the two periods. It should be noticed that mass literature and art is not something having existed or belonged to the populace, but waiting to be created. When came into the eyeshot of political power to produce mass literature and art, folk culture needed to be changed and ended its former appearance. Yongko drama in Yan’an is the model of alteration of the folk culture, so are modern appearances of Beijing opera and Qinqiang in Yan’an. The idea and behavior of innovate traditional Chinese opera were carried out through the evolution of modern Chinese opera. It can be said that modern Chinese opera is the very text indicating the destiny of Chinese folk culture in the 20th century. Model drama in Culture Revolution, on the acme of mass literature and art, was also on the acme of modern Chinese opera, so was on the acme of changing the folk culture. Though was weaker than power of politics and intellectual, the folk showed its strong strength of self-conservation.Yongko drama and model drama exhibit directly and vividly the relationship of theatre and daily life interweaving society, politics and culture. The vigorous movement of new yongko in Yan’an and popularizing model drama made Yan’an and the whole China a huge stage. The performance of yongko drama and model drama in square made the stage extending. The performance was not only an affair of literature and art, but penetrated and influenced the daily life of the populace, which led to performance looked like life and life looked like performance. While stage and life were interweaving, it was difficult to tell phantasm and reality. So the state myth made by political power infiltrate the folk and control the populace with special words, actions, and rites. All these resulted in the sameness of performance and politics. So performance was politics while politics was performance. It is interesting that model drama, which is on the acme of modern Chinese opera in the last century was
【中文关键词】 戏曲现代戏; 国家神话
【英文关键词】 modern Chinese opera; state myth
【网络出版年期】2008年07期 【网络出版投稿人】厦门大学 【网络出版投稿时间】2008-06-17 【DOI】CNKI:CDMD:1.2008.058314 攻读期成果
