“契约”视阈下二人转《大西厢》的叙事策略

On the Narrative Strategy of Er-ren-zhuan The West Chamber under the Threshold of Contract

从唐代《莺莺传》到抒情诗剧《西厢记》,再到二人转《大西厢》,张生与崔莺莺之间的"契约"叙事模式在发生不同的变化。相较而言,从叙事的角色、功能以及母题来看,二人转《大西厢》情节精简,冲突单一,崔莺莺人物性格大胆主动,热烈奔放。这一变化反映了东北观众特有的审美期待以及接受心理,唤醒了观众群体的创世神话原型意象体验,激起了观众内心中具有狂欢性质的沉醉和迷狂,实现了观众内在深层的情感诉求和精神满足,由此形成了二人转《大西厢》区别于其他"西厢"故事的土野本质和艺术追求。

The contract narrative model between Zhang Sheng and Cui Yingying has undergone differentchanges from the Tang Dynasty Biography of Yingying and the lyrical drama The West Chamber to theEr-ren-zhuan The West Chamber. From the perspective of the role, function, and theme of the narrative, the twopeople in the three texts turned the plot of The West Chamber to be streamlined and single in conflict. Cui Yingy-ing is bold and active and enthusiastic. This change reflects the unique aesthetic expectations and acceptancepsychology of the people in the Northeast, awakens the audience’s prototype image experience of the creationmyth, and arouses the audience’s ecstasy and madness in the heart. It has realized the deep emotional appealand spiritual satisfaction of the audience, thus forming the nature and artistic pursuit of the Er-ren-zhuan the West Chamber and distinguishing it from other West Chamber stories.