对20世纪三四十年代越剧新编戏命运的回顾与反思

Review and Reflection on Destiny of the New Yueju in the 1930s and 1940s

当"戏改"纲领将想象中的"旧戏"拟定为唯一的潜在改造对象时,它事实上面对的却是基于农业文明的"古典戏剧传统"与基于城市文明的"现代戏剧传统"相混杂的局面。在框架性的偏差与历史性的认识局限下,立足于都市剧场和市民文化的"现代戏剧传统"在"戏改"过程中遭到了有意无意的否定、忽视,乃至遗弃。这对1938年姚水娟改革以来刚刚借助全新创作和演出模式走向兴盛的越剧造成的影响尤其显著。对于20世纪三四十年代越剧新编戏命运的重新审视,有助于反思"戏改"理论设定中一些有待厘清的问题并重新考量"现代戏剧传统"的价值和意义。

When the theatre reform program takes the imaginary "old theatre " as the only potential object of reformation, it actually faces the situation where the "classical theatre tradition"based on agricultural civilization is mixed with the"modern theatre tradition"based on urban civilization. Under frame deviation and historical cognitive limitation,"modern theatre tradition",which is based on urban theatre and citizen culture,has been negated,ignored or even abandoned intentionally or unintentionally in the process of theatre reform. This had a significant impact on Yueju,which had just been flourishing with the help of new creation and performance mode since YAO Shuijuan’s reform in 1938. The reexamination of the destiny of the new Yueju in the 1930 s and 1940 s is helpful to reflect on some problems that are in need of clarification in the theoretical setting of theatre reform and to reconsider the value and significance of"modern theatre tradition".