“戏曲中国”与晚清的“粉墨英雄”想象

"Opera China" and Imagination of "Makeup Heroes" in Late Qing Dynasty

晚清对戏曲的"发现"经历了一个颇为复杂的过程:以梁启超为代表的晚清改良派知识分子出于"新民"的目的而提倡的"戏"、"说"合一的"小说中国"理论,已经看到戏曲"剧本"对"营造人心"的作用;而稍后的戏曲研究者对剧场与舞台表演的功能的认识,已经涉及到戏曲艺术与"小说"的差异;民族危机的加剧和"民智"的现状使得晚清的"小说中国"理论遭到搁浅,而"戏曲"因其独特的存在方式,遂成为晚清"中国叙述"的重要载体,晚清知识界对"剧场国家"效应的聚焦由此发生,"粉墨"英雄遂成为"戏曲中国"的主体。

Late Qing Dynasty's 'discovery' of opera underwent a complicated process.The theory of 'novel China' established by Liang Qichao,representative of Late Qing reformist intellectuals,who advocated the integration of opera and telling out of their concern about the 'new citizens,' had noticed the role of play script on the influence of the human hearts.Later,the opera researchers gained awareness of the functions of theatre and stage performance,which touched upon the differences between opera and written novels.The deteriorating national crisis and the then situations of the 'national wisdom' made the theory of 'novel China' stranded while 'opera,' in its unique form,became an important carrier of 'China narration' in Late Qing.Consequently,the focus on the effect of 'theory country' came about in the sphere of the Late Qing intellectuals,' and 'makeup heroes' became the main body of 'opera China.'