论张恨水小说的戏曲叙事

On the Dramatic Narration of Zhang Henshui’s Novels

张恨水将戏曲元素融入小说创作中,形成多元的戏曲叙事,具体包括三个层面:一是戏曲文本内容介入小说叙事,如戏曲穿插,即类似"戏中戏"的结构来暗示情节发展及人物命运,运用戏曲唱词来揭示人物性格及心理;二是借鉴戏曲文本创作的某些技巧,如运用巧合、误会以及"自报家门""余韵"等来组织小说;三是借鉴戏曲舞台的演出特征,如运用表演及舞台的写意性来虚写情节,运用道具、小动作来揭示人物情感及心理。戏曲叙事不仅使张恨水小说充满浓郁的戏曲文化魅力,同时也为现代小说融合、转换传统戏曲资源提供了一种借鉴。

Zhang Henshui integrates opera elements into his novel creation and forms a pluralistic opera narrative, which includes three aspects: one is that the content of opera text is involved in novel narrative, such as opera interlude, an structure similar to "opera in opera", implies plot development and character destiny, and uses opera lyrics to reveal characters’ personality and psychology;the second is to draw lessons from some techniques of opera creation, such as using coincidence, misunderstanding and"self-introduction" and "rhyme" to organize the novel;the third is to draw lessons from the performance characteristics of the opera stage, such as using performance and stage to fictionalize the plot, and using props and gestures to reveal the emotions and psychology of the characters. The narrative of opera not only makes Zhang Henshui’s novels full of strong cultural charm of opera, but also provides a reference for the integration of modern novels and the transformation of traditional opera resources.