戏文之结构及其变迁

The Narrative Structure of Xiwen and Its Transformation

同样题材的故事,戏文的叙事之所以有别于小说,主要在于戏文叙事不得不考虑生、旦、净、末、丑等不同脚色的调配使用,生、旦一波三折的离合往往会成为戏文结构之中心,冷热、悲欢、庄谐、文武等不同场次的调剂往往也要借用不同脚色的表演来实现。故脚色制可谓我们理解戏文结构之关键。在戏文初始阶段,脚色制的结构性功能并不显著、稳定,戏文结构变迁的历史则主要表现为脚色使用日趋规范、戏文结构也日趋稳定的历史。戏文之结构可认为是脚色制与故事叙述两种因素的组织调和,二者之间始终存在张力,后者有时也有可能成为主导性因素,但从总体来看,脚色制对戏剧叙事的决定和影响却是主要的和规律性的。

The reason why Xiwen ( mainly indicate Nanxi in this paper) narration,with the same theme,differs from novel one is that it has to be considered how to deploy and use different Jiaose ( 脚色) like Sheng (生) ,Dan (旦) ,Jing (净) ,Mo (末) and Chou (丑) in a Xiwen. Sheng and Dan’s vicissitudes of life,full of twists and turns,are usually keys to Xiwen’ s narrative structure,meanwhile stipulating and sequencing different sessions of one-man show and multi-person show,of joys and sorrows,of solemn and humorous,and of singing, acting and military would be accomplished through Jiaose performance. Therefore,Jiaose system is crucial to understanding Xiwen’ s narrative structure. The transformation of Xiwen’ s narrative structure is a history when Jiaose usage was gradually regulated and the structure tended to stabilize. The structure would be regarded as the result of organizing and reconciling the two factors Jiaose system and narration,between which there is always tension. The later factor could occasionally be dominant,however generally speaking,Jiaose system’ s influence on Xiju narration is predominant and full of regularity.