民间地方戏曲与现代国族叙事的历史耦合与话语裂隙——现代性视阈下的歌仔戏《邵江海》

Historic Articulation between Folk Region Opera and Modern Nation Narratives:Gezi Opera ShaoJianghai on Horizon of Modernity

新编传记体歌仔戏《邵江海》以人带戏、以戏写戏、以戏论史,主题繁复而带有自我反思性,几乎浓缩了半部歌仔戏发展史与传播史,成为全球本土化情境中表达闽南经验、建构共同记忆的成功典范,因而获奖无数、跻身经典。这部戏在几经修改后,通过将戏中的"禁戏"之争纳入民族国家现代性的叙事链条而与时代展开对话,既展现了为戏痴狂的邵江海因戏遭难却不悔初衷、创作新调与定型剧本的感人事迹,又显影了不同话语力量围绕歌仔戏而在公共空间中的激烈博弈。其既是一部传统民间艺人接受时代精神的历史询唤而确证主体身份的成长寓言,亦以大和解的理想结局直观呈现以歌仔戏为代表的民俗曲艺形式如何参与到现代性的国族叙事中来,有效呼应民族共同体的现代性想象。

Gezi opera Shao Jianghai that had complex themes and self reflection,nearly compressed the development and communication history of gezi opera through writing hero by opera,opera by opera,and history by opera.As a result,it became a classic of the expression of South Fujian experiences and construction of common memories,and carried many prizes.After many revisions,it dialoged with times by putting the ban of drama in the narrative chain of national modernity.It described the achievements of the hero creating new melodies and scenarios on hard conditions,and expressed the negotiations of different discourses about Gezi opera on public space.It’s a grow allegory of folk artists confirmed subjectivity identity by receiving the historic call of time spirits.It responded modernity imagination of national community through idealized reconciliation ending,which revealed how traditional operas played part in modern national narratives.