马克思主义美学视域下的戏剧审美功能探析:以彩调剧《刘三姐》和《新刘三姐》为例

On the Aesthetic Function of drama from the Perspective of Marxist Aesthetics:The Cases of Caidiao Drama Sister Liu and New Sister Liu

20世纪60年代,彩调剧《刘三姐》在全国取得的影响力非同凡响,至今仍然是个经典。《新刘三姐》是在延续“刘三姐”这个人物符号新创编的剧目,自2019年9月首演至今,连续参加了上海的“艺起前行”、北京国家大剧院、2021年元旦戏曲晚会的演出,社会反响热烈。两个“刘三姐”剧目虽然创演的时代语境及内容不同,但在审美表达及功能方面却有相似之处。以《刘三姐》和《新刘三姐》为例,结合马克思主义美学的审美批判和治理两个维度分析彩调艺术在不同时代语境下的功能。尤其是在大众审美化的今天,借鉴《刘三姐》和《新刘三姐》审美经验,我们可以找到新时代传统戏剧照见现实、进入现代化视角,通过类似剧目建构国家意识形态为主导的审美制度,实现主体塑造的效果,并通过大众日常生活、情感结构的浸染逐渐建构起稳定的文化共同体,从而为国家现代化治理体系中的社会主义主体和情感共同体的塑造提供保证。

In the 1960s,the Caidiao drama Sister Liu gained extraordinary popularity in China and is still a classic.New Liu Sanjie is a new play created to continue the iconic character Liu Sanjie.Since its debut in September 2019,it has been performed in Shanghai’s Move Forward with Art,Beijing’s National Center for the Performing Arts,and the 2021 New Year’s Day Opera Gala,which has received enthusiastic response from the society.Although the two Liu Sanjie plays were created in different contexts and with different content,they have similarities in aesthetic expression and function.Taking Liu Sanjie and New Liu as examples,this paper analyzes the functions of toning art in different contexts from two dimensions of Marxist aesthetics:aesthetic criticism and governance.Especially in today’s public aestheticization,drawing on the aesthetic experience of Liu Sanjie and New Liu Sanjie,we can find the traditional drama in the new era able to see the reality and enter the perspective of modernization and construct the aesthetic system dominated by national ideology through similar plays,achieving the effect of subjectification.It gradually builds a stable cultural community through the influence of everday life and structure of feelings,so as to guarantee the shaping of socialist subject and emotional community in the modern national governance.