越剧《梁祝·十八相送》的性别重建

Gender Reconstructed:A Case Study of the “18 Phases Sending” Scene from Yue Opera Butterfly Lovers

本文从社会性别视角对越剧《梁祝·十八相送》进行观照,以性别的流动性与可转换性为前提,建立在对越剧唱腔设计、演员以及受众的采访之上,通过对八流派唱腔中不同生旦组合的分析,透视音乐对男女性别气质的塑造,以及女子越剧中体现出的多元性别关系。本文发现,女子越剧中丰富的流派构成了多样的性别强弱关系组合;越剧女小生唱腔中普遍具有刚柔并济的特点,为越剧的性别重建提供了基础,为受众心目中的性别想象提供了前提。从性别视角对越剧唱腔音乐的研究,希望为越剧研究和《梁祝》研究补充一份音乐人类学性别研究个案。

The article,with the gender fluidity and changeability in mind as well as several interviews with Yue opera actresses and audiences,focuses on different patterns of male and female roles' combinations from eight singing schools,tackling the way music shapes male/female gender and temperament and the multiple gender relations as reflected in female-style Yue opera.The following conclusions can be drawn that the rich singing schools in this opera have constructed various strong or weak gender combinations;that the female-impersonated young male role features both strength and gracein singing,the basis for gender reconstruction in the opera and the premise for the audience's gender imagination.The author hopes,with anthropological gender theory for the study of singing,that the case here can be as a supplement to the researches of this Yue opera.