新中国成立以来“探母戏”浮沉研究——以《四郎探母》《三关排宴》为例

Study on the Ups and Downs of “Visiting Mother Drama” since the Founding of New China :Taking The Fourth Son Visiting His Mother and The Banquet at The Three Passes as Examples

京剧《四郎探母》讲述家庭悲欢离合的故事,充满儿女情长;而上党梆子《三关排宴》则讲述大义灭亲的故事,彰显民族大义。新中国成立以来,两部戏剧在文艺界受到截然相反的评价。改革开放以前,《四郎探母》遭受批判,《三关排宴》则受到青睐;改革开放以后,《四郎探母》无论在大陆还是海外,都受到热烈追捧,而《三关排宴》则遭遇冷落。从两部戏的升沉遭际可以窥见意识形态从以斗争为中心到以和谐为中心的转变。《四郎探母》之所以长期受到海内外观众的欢迎,在于它更能表达民众的“集体无意识”,即对于小传统中的“情义”本位的渴求以及对和谐、大团圆的梦想。

The Peking Opera The Fourth Son Visiting His Mother tells the story of the family’s drifing, full of love and affection, while the Shangdang clapper opera The banquet At The Three Passes tells the story of the Great Justice and the destruction of the family, reflecting the great national justice. Since the founding of the People’s Republic of China 60 years ago, the two plays have received diametrically opposite criticism in the field of literary criticism, which represents the great change of ideology. Before reform and opening up, the former had been criticized, while the latter had been favored. After reform and opening up, the former Ushered in the spring of life and was warmly followed both on the mainland and overseas. While the latter was not as glamorous as before. We can see the transformation of ideology from the center of struggle to the center of harmony. The reason why The Fourth Son Visiting His Mother has been welcomed by audiences at home and abroad for a long time lies in the fact that it can better express the“collective unconsciousness”of the people——the longing for the“friendship” standard in the small tradition and the dream of harmony and reunion.