新文艺的介入和旧传统的新生——“戏改”过程中梨园戏的抢救

Intervention of New Literature and Art and the Rebirth of Old Traditions:Rescue of Liyuanxi During the “Xiqu Reform”

十七年"戏改"过程中,国家、民间、个人,传统与反传统的纠葛远没有像一般性的历史大叙事那样表现得壁垒分明,如在梨园戏的抢救领域,可以看到相对精英化的传统如何与国家话语结盟,共同抗拒舍弃民间力量。已经在民间戏场没落的梨园戏在"戏改"时"重获新生",极力还原、接续古典精雅的士大夫文人气质并确立为剧种品格,同时,倾力整理改编传统戏,文本、音乐、表演、舞美等方面均十分强调剧种传统与剧种个性。新旧合作,新文艺工作者的强势介入和没落传统的新生,在梨园戏的改造过程中奇迹般地结合在一起。梨园戏坚守剧种传统、以继承为剧种剧团存续主轴在"戏改"时相当独特,对梨园戏及福建戏曲的当代传承发展具有独特价值及启示意义。

During the 17 years of"Xiqu Reform",the division among the national official discourse,the folk discourse,the individual discourse,the traditional ideas,and the antitraditional ideas were,interestingly,not that clear-cut.Instead,the traditional ideas valued by the elites were found to coordinate with the national official discourse as a unified force against the folk discourse,as could be observed in the rescue project of Liyuanxi.Liyuanxi,which had been in decline in folk theatres,was"reborn"during the"Xiqu Reform".The classical and refined temperament of literati and officialdom in feudal China were recollected,inherited and established as a Xiqu genre typical of Liyuanxi.Other traditional Xiqu genres in terms of text,music,performance,and set designs were also well observed while great efforts are taken to adapt the traditional Xiqu to the new world.Amazing cooperation was built between the old and the new so that the strong intervention of new literature and art miraculously brought about the rebirth of the declining tradition.Such approach of survival by adhering to the tradition is quite unique in the"Xiqu Reform"and could provoke thoughtful insights for the contemporary efforts in the inheritance and development of Liyuanxi and Fujian Xiqu.