从唐传奇到明传奇——明传奇《红拂记》对虬髯客故事之重造

From Tangchuanqi to Mingchuanqi:Hongfu Ji's Rewriting of Qiuranke's Story in Mingchuanqi Drama

同为虬髯客故事的演绎,唐传奇《虬髯客传》与明传奇《红拂记》在叙事上却呈现出了完全不同的风貌,这主要在于戏曲叙事必须考虑生、旦、净、末、丑等各门脚色的出场比重。一方面,生旦的离合是推动故事发展的主要线索,另一方面,冷热、悲欢、庄谐、文武等不同场次的调剂皆需要借助不同脚色的穿插调配来实现。通过对明传奇《红拂记》叙事结构的梳理,从脚色制与故事叙述的组织和调和对明传奇在发展过程中叙事性与戏剧性之间的矛盾进行了分析,认为脚色制是制约戏曲叙事、形成戏曲独特叙事美学风貌的主要原因。

Tangchuanqi Qiuranke Zhuan differs from Mingchuanqi Hongfu Ji in narrative style while both tell story of Qiuranke,the reason of which lies in the fact that it must be considered how to deploy and use different jiaose like Sheng,Dan,Jing,Mo and Chou in a Mingchuanqi.On one hand,reunion and separation of Sheng and Dan is the main element advancing stories.On the other hand,the arrangements of coldness and hotness,sadness with joy,solemnness and humor,civility and force is made through assorting different jiaose in each scene.It is believed that Jiaose system is the main factor limiting development of drama’s unique narrative beauty.