从身体视角看郭沫若历史剧中反面角色的形象

A Body View of Guo Moruo's Portrayal of the Villain in the Historical Dramas of the Republic of China

20世纪三、四十年代郭沫若在历史剧《屈原》《棠棣之花》《高渐离》《孔雀胆》《南冠草》中塑造了秦始皇、赵高、魏安釐王、郑袖、侠累等众多反面角色,分别指向帝国主义、蒋介石国民党政府、汪伪政权和大量汉奸。作者秉承古为今用、失事求似的创作思想和史学精神,把握住人物原型与现实中所喻指的人物之间在思想和行为上的相通之处,突出战争年代身体为政治和社会服务的观念。剧中反面角色在其反动行为中看重人身体的物质属性、工具属性及对抗功能,把英雄人物作为政治工具和战争武器,同时还对女性身体持有性别歧视。郭沫若通过对反面角色身体思想的刻画揭示其思想和灵魂的本质,由此起到了促进民众政治意识生成和提振抗日信心的作用。同时,也实现了剧作者、剧本人物和观众之间的情感共鸣,坚定了国民团结抗日的决心。

During the period of the Republic of China,or in the 1930s and 1940s to be exact,Guo Moruo created a number of villains,such as emperors,princes,officials of the KMT government and traitors,in his historical dramas by using historical figures and events as allusions to present his ideas and historical spirit that the body should serve politics and the society at war times.In doing so,attributes of the body,such as material,tool and antagonism,are highlighted.While heroes are portrayed as tools for politics and wars,the female body is treated with sexual discrimination.By portraying the bodies of the villains to reveal their thought and soul and creating emotional resonation with the readers with the characters in the dramas,Guo Moruo successfully awakens the political awareness of the people and rallies the vast mass to unite in the fight against the Japanese aggression.