谐谑的力量:从越剧《碧玉簪》看“戏改”中的话语裂隙与弥合

The Power of Banter:On the Discourse Gap and its Bridging in Biyuzan during the Xiqu Reform

越剧《碧玉簪》从婺剧移植而来,但不同于婺剧"三家绝"的悲剧结局,越剧《碧玉簪》为传统的大团圆模式,其中谐谑起着主导性作用。借助谐谑的力量,越剧《碧玉簪》将悲剧扭转为喜剧,传递出对世俗人生的执着,彰显其民间话语立场。在20世纪60年代的"戏改"中,该戏的大团圆结局与斗争、决裂的主流模式相悖,备受评论界非议,而观众却欣然接受,这显示了主流话语与民间话语间的裂隙。越剧《碧玉簪》则通过"送凤冠"这一极具成人仪式的关键性情节对其进行弥合。

Biyuzan,meaning Jade Hairpin in Yueju is a transplantion from a play in Wuju,but its ending is different from the tragic ending in Wuju.Biyuzan has a traditional happy ending of reunion in which banter plays an important role.With the help of banter,Biyuzan turns a tragedy into a comedy,which conveys its sticking to secular life and folk discourse position.In the"Xiqu reform"of the 1960 s,the happy ending of the play contrasted sharply with the mainstream plot mode of struggling and breaking away.It was criticized by the critics but accepted willingly by the audience,which showed the gap between the mainstream discourse and the folk discourse.By introducing a key plot of"sending phoenix coronet",a rite of passage,Biyuzan tries to bridge the gap.