中国古代戏曲团圆模式的三种类型及其文化精神探略

Three Types of Reunion Model and Its Cultural Spirit in Classic Chinese Opera

大团圆是中国戏曲用以拯救苦难、弥合痛苦最重要的方式。具体到戏曲叙事中,剧作家总是会设计一个甚至多个拯救者形象来充当苦难的见证者和挽救者,大团圆则是拯救行动成功的直接标志。中国戏曲的写意原则使得剧作家强烈的拯救意愿对叙事本身往往造成了过度的干预,从而使大团圆包含了非常复杂的内涵,其背后的文化精神也逐渐从乐观拯救指向悲观幻灭,表现为天道正义观念从胜利、迷惘走向幻灭的过程。

To classic Chinese opera,the great reunion is the most important mode to rescue misery and ease pain.When a dramatist began his narrative,he always designs one or more roles to act as the suffering witnesses and salvagers,and the great reunion would be the direct symbol of successful salvation.But the impressionistic principle in Chinese opera usually causes the dramatist＇s strong desire for salvation to overly interpose the narrative and complicates the connotation of the great reunion which should ease pain.The cultural spirit behind the great reunion gradually turns from optimism and salvation into pessimism and disillusion.The views of natural law and justice also experience a transition from victory to befuddlement and end in disillusion.