“家”“国”认同与女性成长--论苏剧《国鼎魂》的叙事策略

Consciousness of Home-Country and Female Growth:On Narrative Strategy of Suju Opera Guo Ding Hun

现代戏《国鼎魂》是苏剧传承保护中心的开团之作,一度引起剧坛关注的原因不仅在于荣获了文华大奖,还在于它独特的故事叙事方式。而形式问题正是探讨现代戏曲艺术形态的重要问题之一。女主人公穿梭于“丁素珍”“潘达于”二重身份之中,这二者之间究竟存在着何种关系,作者如何借助不同的视角转换、通过不同身份的眼睛和口吻叙述情节内容,如何在延续“英雄气”与“儿女情”交织的风格的同时在家、国与女性之间寻找平衡,如何在虚构与想象的情节编织中完成一个有着时代印痕的传奇女性成长故事以及“家国”情怀的书写,这都是分析叙事策略及其与李莉戏剧观之关系的关键所在。叙述学理论的运用,对分析作者站在什么立场和抱怎样的目的进行故事叙述,剖析其故事的讲述方式与结构原则以及具体构成叙事风格的运作方式,起到了积极的作用。

The modern Chinese opera Guo Ding Hun is the first work of the Suju Opera Troupe.It has attracted the attention of the circle not only because it won the Wenhua Award,but also because of its unique narrative method.The form is one of the important issues to explore modern Chinese opera.The heroine cross through the dual identities of Ding Suzhen and Pan Dayu What kind of connections exists between the two?How does the author use two different perspectives to transform and narrate the story?How to build the balance between home,country and female while maintaining the mixture of“heroism”and“personal affection”as its style?How to portrait the growth of a legendary woman with the mark of times and passion with"home and country"in a story fabricated with fiction and imagination?These are the keys to analyzing its narrative strategy and the connection with Li Li’s dramatic vision.The narrative theory has played a positive role in analyzing the author's position and purpose in storytelling,studying the storytelling methods and structural principles,and the way how its narrative style formed and operated.