张爱玲《太太万岁》中的戏曲资源与中国经验

Opera Resources and Chinese Experience in Long Live Madame by Eileen Chang

戏曲在上海消费文化土壤中的重要存在及作家本人对戏曲熟稔的基本事实,是解读张爱玲电影剧本《太太万岁》绕不过去的存在。李渔的喜剧理念、上海滑稽戏的特点以及中国戏曲的"苦戏"传统与"团圆之趣"等,既是张爱玲用于创作《太太万岁》的中国资源和中国经验,也是中国观众审美习尚中喜闻乐见的观剧要素。作家张家玲一面以潜在的戏曲文化适应、满足观众的耳目之欲,另一方面又新翻杨柳曲,为处于"哀乐中年"的现代都市"太太"画像造型,在笑乐之余给观众某种"苍凉"的人生启示。

The objective existence of Chinese opera in the soil of Chinese consumer culture and the basic fact that the writer is familiar with Chinese opera are the existence that can not be bypassed in the interpretation of Eileen Chang′s movie script Long Live Madame.Li Yu′s opera ideas,the characteristics of Shanghai comic opera,and the tradition of"bitter opera"and"joy of reunion"in Chinese opera are both Chinese resources and Chinese experiences that Eileen Chang used to create Long Live Madame and also popular elements of watching opera in Chinese aesthetic practices.On the one hand,the author adapts to the potential opera culture to satisfy the audience′s desire for ears and eyes.On the other hand,she has newly translated the Yangliuqu,which is used as a model for the portrait of the"wife"of the modern city who is in the middle age of"grief and joy",and gives the audience some kind of"desolate"life enlightenment t in addition to laughter.