中国20世纪40年代新歌剧中人物形象塑造刍议--以《白毛女》中的黄世仁形象为例

On the Characterization of Chinese New Opera in the 1940s——A case study of the image of Huang Shiren in The White-Haired Girl

《白毛女》作为我国20世纪40年代中期里程碑意义的歌剧作品,是西方歌剧写作形式与中国传统故事题材相结合的完美典范,既揭示了农村中最基本的阶级矛盾与斗争,又为受压迫的农民群众指明了前进方向,剧中富于浪漫主义地保留了“白毛仙姑”的传奇式情节,并将之提高到“旧社会把人逼成鬼,新社会把鬼变成人”的哲学高度。对于《白毛女》中的黄世仁角色的人物展现,近半个多世纪以来,该角色的形象和性格常被概括为残酷、狡诈和虚伪,缺乏对黄世仁形象的立体性讨论;该形象不应孤立地视为普通地主阶层的缩影,而具备“典型性性格”特征,其个人特质和身份属性应得到立体化的呈现。

As a landmark opera work in China in the mid-1940s,The White-Haired Girl is a perfect example of the combination of Western opera writing forms and Chinese traditional story themes.The story in the opera not only reveals the most basic class conflicts and struggles in rural areas,but also provides a way out for the oppressed peasants.The work has romantically retained the legendary plot of the“White-Haired Fairy”,and elevated it to a philosophical height that“the old society reduced humans into ghosts,but the new society turns ghosts back into humans.”This paper aims to explore the character display of Huang Shiren in The White-Haired Girl,as the researches on the role in the past half century lacked a multi-dimensional perspective,and his image and nature were usually taken as cruel,cunning and hypocritical.This paper believes that his image should not be simply regarded as the epitome of the ordinary landlord class,but has the characteristics of“typical personality”,and its personal characteristics and identity nature should be presented in a threedimensional way.