男旦与摩登女郎:欧阳予倩《潘金莲》的舞台演出及其形象变迁史论

Male Dan and Modern Girl

1927年首演的《潘金莲》,是一部由时为新剧男旦的欧阳予倩亲自创作并担任主演的实验性新编京剧作品。本文着眼于对该剧作为京剧剧目上演之际报纸杂志所刊载的演出记录、剧照等舞台演出史料的梳理,集中探讨1920年代末期至1930年代的新编京剧以何种舞台形式来展示和表现女性形象,以及观众对男旦版"潘金莲"有着怎样的反馈和接受。在此基础上,结合该剧1936年重演时由女演员担任主角的版本,通过比较后者对欧阳予倩塑造的男旦版女性形象的继承与发扬,进而重新评价欧阳予倩自编自演的《潘金莲》在中国戏剧演出史上的意义与价值。

Pan Jinlian, which premiered in 1927, is an experimental new Peking Opera composed and starred by Ouyang Yuqian, who was then the male dan of the new opera. This paper focuses on the sorting out of performance records,photos and other historical materials of stage performances published in newspapers and magazines when the Peking Opera is put on stage, focusing on what stage forms the newly edited Peking Opera from the late 1920 s to the 1930 s used to display and express the image of women, and how the audience’s feedback and acceptance of the male dan edition"Pan Jinlian". On this basis, combined with the version in which the actress acted as the protagonist when the play was repeated in 1936, by comparing the latter’s inheritance and development of the female image of the male dan version created by Ouyang Yuqian, and then revaluating the significance and value of Ouyang Yuqian’s"Pan Jinlian"in the history of Chinese drama performance.