金元以来“柳永戏”述论——兼及戏曲的文化代言问题

An Introduction to Liu Yong Dramas since Jin and Yuan Dynasties——Also on Cultural Endorsement of Drama

自金元以至今天,有许多剧作家以柳永入戏。柳永之词与其风流人生引发了剧作家的浓厚兴趣。相关的古代剧作表达着文人作家艳羡风流且张扬放荡的个性心理,也有对社会压抑、人生坎坷不满情绪的发泄,当然也满足着民间观众艳羡风流的欣赏期待。降及当代,以柳永故事为题材的戏曲却几乎立场一致地对柳永的人生表示理解,对柳永的道德为人进行辩护,甚至把浪子词人的柳永塑造为既忠实于爱情又居官清明的文人形象。这显然是从某种狭隘的地域文化价值的角度出发,或者从地方经济发展的需要出发,在借历史人物代言的时候,肆意涂饰以政治的色彩或装扮以虚假的道德外衣,既违背历史存在给予人物的性格逻辑,也违背戏曲创作的艺术逻辑。

Since the Jin and Yuan Dynasties, many dramatists brought Liu Yong into their plays, for Liu＇s poetic creation and romances stimulated the dramatists＇ literary creation. These dramas, on one hand, mirrored the playwrights＇ psycology of envying Liu＇s romantic yet undiciplined life, but on the other, gave vent to the dissatisfaction caused by social suppression and bumps in life as well as met the expectation of the mass＇s envy of romantic life. In the contemporary society, Liu Yong Dramas almost without exception express understanding of Liu＇s life, defended his morality, and even recast the prodigal into a faithful lover and a clean official. Obviously, the recasting is smearing the historical figure with political color or dressing him in a fake moral gown when resorting to the endorsement of a historical figure from a narrow geographical and cultural va- lue perspective, or from the local economic development needs, thus going against character logic of historical figures as well as the artistic logic of dramatic creation.