多重文化力量的融合与交锋——歌剧《白毛女》诞生的文化语境

Cultural Context of the Birth of Opera Bai Mao Nü:Blending and Confrontation of Multiple Cultural Powers

《白毛女》之所以选择"民族新歌剧"的艺术形式,与延安构建新文化秩序的语境密切相关。这个新秩序是一个以民间文化为基点,融合其他"合法"文化资源,向着革命而现代的方向聚拢的等级序列。秧歌运动是重构文化秩序的初次尝试,改造后的秧歌剧成为新文化实践的重镇。在创新冲动的驱使下,延安不满足于业已发展成熟的大型秧歌剧,转而渴望更新型的"民族新歌剧"。"白毛仙姑"传说恰在此时流入延安,便理所当然地接受了历史的选择。

The reason why Bai Mao Nv the opera takes the artistic shape of the ＂national new opera＂ lies in its association with the context in which Yan＇ an is then constructing a new cultural order. This new order is a hierarchical one based on folk culture, fused with other ＂legal＂ resources, and oriented towards the revolutionary and modern trend. Before that time, Yangko Movement is the preliminary attempt for constructing cultural order; and the improved Yangko Opera is the matrix for the practicing new culture. Yan＇an, under the motivation of innovation, is no longer satisfied with the then matured Yangko Opera, and hence turns to seek new style of ＂national new opera＂. It is against that background that the legend of the ＂white--haired girl＂ comes to Yan＇ an and naturally becomes the historical choice.