抗战动员中的地方“戏改”及其艺术社会史意义——以“桂剧改革”三场讨论为中心(1936—1940)

Local “Opera Reform” and Its Connotation in Anti-Japanese Mobilization from the Perspective of Social History of Art: with a Focus on Three Debates of “Gui Opera Reform”( 1936-1940)

抗战期间,"桂剧改革"在传统地方戏曲的现代转换方面进行了首次较完整的历史性实验。"桂剧改革"的取径与方法并非如后人回顾的那般顺遂自然,而是在三场重要讨论中艰难成形:1936年的讨论,对桂剧应以抛弃、改良或改革的去路争持不下。1938年的讨论,迫切于抗战动员的需要,在"旧瓶新酒"的讨论中渐重于改良之径而忽视"艺人"的问题。1939年至1940年前后的讨论,伴随欧阳予倩二度入桂及大批文化人会集于桂林,以历史考辨与现实观察为基础,在继承过去改革"戏曲"思路的基础上,创造性地确立了改革"艺人"及其主体性塑造"机制"的方法。这一理论取径与方法思路的艺术社会史意义在于,它为其后"桂剧改革"实践的正式展开乃至新中国"戏曲改革"方针的制订提供了潜在的历史参照。

During the War of Resistance against Japan, ＂Gui Opera Reform＂ carried out a relatively complete experiment on traditional local operas＇ modern transformation for the first time. The framework and method of ＂Gui Opera Reform＂ are not as reasonable as later reviews suggest, but roughly come into being in three influential debates. The debate in 1936 ar- gued whether Gui Opera should be abandoned, ameliorated or reformed. To meet the need of anti-Japanese mobilization, the debate of ＂New Wine in Old Bottles＂ in 1938 attached importance to the way of amelioration, but overlooked the case of ac- tors. With Ouyang Yuqian entering Guilin twice time as well as a number of intellectuals gathering in Guilin, the debate dur- ing 1939 to 1940 based itself on historical studies and real-life observations. In addition to inheriting past thoughts on refor- ming ＂opera＂, it creatively established the methodology of reforming ＂actor＂ and the ＂mechanism＂ of shaping actors＇ sub- jectivity. From the perspective of the social history of art, this theoretical framework and methodological thought potentially provide historical reference for formal practice of ＂Gui Opera Reform＂ and even for charting the course of ＂Opera Reform＂ in new China.