民间与官方视角的融合、组合与混合——“十七年”间越剧女性典型形象研究

Fusion, Combination and Mixing of Folk and Official Perspectives:A Study of Typical Images of Women in Yueju During “the Seventeen Years”

早期越剧中的女性人物,以男性视点下的天使型和魔鬼型为主,进入上海后,特别是改良文戏和新越剧后,女性对自身的认识集中在苦命型悲剧女性形象上。这是民间视角下现实女性生存状态的艺术反映。"十七年间"在民间与官方的双重视角下,越剧中的女性典型形象发生巨大变化,表现为:民间与官方视角相融合,形成的少女型和花木兰型女性形象,成为新时代女性的新典型;民间与官方视角组合下,苦命型女性加上反抗式情节形成的反抗型女性,成为新社会的主流女性形象;而天使型女性作为贯穿越剧各个历史时期的主要女性形象,在"十七年间"则是将官方和男性视点深化并内化为女性视点,显示出女性对现有性别秩序的继续顺从。越剧中的女性典型形象是时人对女性群体认识的艺术反映。

The female characters in early Yueju were most of them either angelic or devilish from a male point of view.But after the women performers entered Shanghai,especially after the trends of improved civilized plays and new Yueju,women’s perception of themselves was mainly shown with the tragic struggling female figures of bitter fate in Yueju,which was an artistic reflection of the reality of women’s existence from a folk perspective.In"the seventeen years",the typical images of women in Yueju have undergone tremendous changes from both folk and official perspectives,which was shown as follows:the fusion of folk and official perspectives led to the formation of Maiden-type and Mulan-type female images,which became the typical images of women in the new era;the rebellious women,coming from the struggling women in rebellion,have become the dominant female image in the new society;and the image of angelic women,as the main female image throughout various historical periods of Yueju,has become a female viewpoint as a result of furthering and internalizing official and male viewpoint during"the seventeen years",demonstrating that women have continuously abided by the existing gender norms.The typical female images in Yueju are an artistic reflection of the general perception of women.