重建现代戏曲的“民间趣味”——以滇剧《水莽草》等作品为例

Re-constructing the “Folk Interests”of Modern Traditional Chinese Opera:Taking Yunnan Opera Shui Mangcao and Others as Examples

关于"戏曲的现代建设"和"戏曲的现代性"近年来一直是戏曲实践领域和理论研究领域共同思考的问题。从20世纪80年代末开始,"现代戏曲"一词被理论家提出,直至进入21世纪重新被不同的理论家拿出来探讨。"现代性""现代精神"成为衡量戏曲创作的第一要义,反之戏曲原生的"民间趣味"却越来越被漠视。在戏曲创作中,民间趣味和现代审美是二元对立的吗?实际上,向现代戏曲品格的转型恰恰是以对戏曲传统和剧种特色的正视和珍视为第一步的。因为,"民间"中的现代价值不容忽视,鲜活的主体所具有的丰富本土性以及充满个性的艺术表达使得"民间趣味"参与到现代戏曲的建设中来,不仅没有降低现代戏曲的品格,相反因其生动、质朴的特性以及在地域特色、剧种本位方面的坚守使这样的戏曲创作更具生命活力。

＂Modern construction of traditional opera＂ and ＂modernity of opera＂ are the issues that are con-sidered in the fields of opera practice and theoretical studies in recent years. Since the 1980s, the term＂modern opera＂ was proposed by theorists and it was continuous discussed by theorists in the 21st century.＂Modernity＂ and ＂modem spirit＂ become key issues to assess the creation of opera, by contrast, the origi-nal ＂folk interests＂ is gradually ignored. In the creation of opera, do folk interests and modern aestheticscontradict with each other？ In fact, the transformation to modem opera is based on the understanding and ap-preciation of the opera tradition and the characteristics of the opera genres. This is because the modem val-ues of the ＂folk＂ cannot be ignored. Furthermore, the vivid subjectivity, rich indigeneity, individual artisticexpression enable ＂folk interests＂ to participate in the construction of moden opera. The modern values ofthe ＂folk＂ does not decrease the character of modern opera, conversely, its lively and plain characteristics,as well as its persistence on regional features and opera genres, make the creation of opera more viable.