《思凡》在中日“新舞蹈运动”中的跨国界传播

The Transnational and Transcultural Adaption of Si fan in Chinese and Japanese New Dance Movements

《思凡》最早的版本对于今天来说是以书写形式存在,又以言传身教的方式延续在昆曲的舞台表演中。它作为纸上或口头的文字一次次地被舞台表演激活,一直延续到21世纪的今天。从唱做合一的昆曲到取消了文字的中日"新舞蹈",《思凡》于20世纪前40年在中日两国的传播和改编提供了让我们探索这一特定时期现代与传统,语言和舞蹈,身体与文字,翻译与创新,艺术与人生复杂关系的个案。梅兰芳、藤荫静枝和吴晓邦三个版本的《思凡》体现了三位编舞苦心积虑地让唱词的字字句句对应肢体的一举一动又极力要弥合神与欲、身与心、精神与肉体的冲突的努力。同时舞蹈作为一种独特的艺术形式一次次打破这些二元对立,生产其所独有的意义。

This paper studies the cross-genre and transnational adaptation of Si fan ( Longing for the mundane), a famous Chinese kun opera, in the "new dance movement" in early twentieth century Japan and China. The drama tells a story of a defiant teenage Buddhist nun running away from the covenant to pursue secular happiness. The centuries-old script of Si fan lived through the stage performances passed down by generations of masters-apprentices into the early twentieth century when the kun opera declined to its nadir. Yet, Si fan was soon revived by the Peking opera master Mei Lanfang and two Japanese and Chinese pioneers of "new dance." From the integrative art of the kun opera to the new dance that excludes words, Si fan provides an opportunity to examine the relationships between language and dance, the mind and the body, and arts and politics within the particular historical-geographical context. While the three modem choreographers of the three versions of Si fan meticulously (re) negotiate the correspondence between body movements and words/sentences in the script to reconcile the tension between the abovementioned dichotomies, dance as a unique art form repeatedly challenges and complicates those binaries.