俗文学的跨文体编创策略——以“召将除妖”主题为中心

A Cross-Genre Writing Strategy of Popular Literature:Focusing on the Theme of “Inviting a Divine General to Drive Away Evil Spirits”

吕洞宾“召将除妖”故事在从仙传《纯阳吕真人文集》到小说《飞剑记》再到戏曲《长生记》的跨文体流动中,呈现出地名符号化、人物类型化、场景程式化等演进规律。在表演性更强的戏曲和说唱曲艺的跨文体改编过程中,无论是场景表现还是人物设置,都受到同类文体既定文本的深刻影响,只要有现成可用的程式套语,改编者就会优先使用同时代、同文体演出文本中的既定套语,甚至不惜将原故事中的人物换成同文体相似故事中的其他人物。新的文本往往体现为纵向(故事主题)和横向(同文体其他故事中的套语、人物、场景)两个维度的“编创”,体现出俗文学的“文体优先原则”。

In the flow of cross-genre writings from the Daoist hagiographic Anthology of Pure-Yang Master Lv Zhenren(《纯阳吕真人文集》)to the novel Story of Flying Sword(《飞剑记》)and then to the drama Tale of Longevity(《长生记》),the story that Lv Dongbin(吕洞宾)invited a divine general to drive away evil spirits(召将除妖)presents such evolutionary laws as the symbolization(符号化)of place names,the typicalization(类型化)of characters and the stylization(程式化)of scenes.In the process of a cross-genre adaptation of the more performative traditional drama and opera and other folk art forms of talking and singing(说唱曲艺),both the presentation of scenes and the setting of characters were deeply influenced by the established texts of the same genre.On condition that there were readily available stereotyped expressions(程式套语),the adapters would give priority to using the established stereotyped expressions from the texts of the same age and the same genre for actual performance,and even replaced the characters in the original story with other characters in the similar stories.A new text used to embody the“composition”of both the vertical dimension(theme of the original story)and the horizontal dimension(stereotyped expressions,characters and scenes from other stories of the same genre),which demonstrated the“principle of genre-priority”in popular literature.