论《诗》的戏剧形态及其意义

On the Theatrical Form and Significance of Shi Jing

通过《诗》篇中的角色标识我们可以辨识《诗》的戏剧形态。《郑风》之《女曰鸡鸣》《溱洧》皆为男女角色共同表演的戏剧。《魏风·陟岵》则一人分饰多角,代言特质明显。《大雅·皇矣》“帝谓文王”之辞属角色代言,类似后世说书讲史。《大雅·荡》中“文王”亦由后人扮演。《召南·野有死麕》虽无角色标识,但蕴含着动作和语言表演的特性,且有舞台铺设。由此可见,《诗》文本并未悉数呈现表演形态,但相关表演痕迹仍有存留;《毛诗序》所述事义、年代等,可能与表演相应;先秦《诗》乐并非仅关乎音乐和歌唱,而是种类多样的综合艺术体系。《诗》篇表演形态在春秋战国时期既有若干表演空间的丧失,又有变化与突破。

The theatrical form of poems in Shi Jing(The Book of Odes)could be recognized by role identification.Both“Nv Yue Ji Ming”and“Zhen Wei”can be taken as plays acted by male and female roles.“Zhi Hu”is played by one actor who enacts different roles,in which the features of representing are self-evident.The words“God spoke to King Wen”in“Huang Yi”show role representing,which is similar to the folk arts of telling historical stories in the later generations.King Wen in“Dang”is also played by man of a later generation.Although there is no role identification in“Ye You Si Jun”,there are characteristics of physical and oral performances as well as stage setting.Therefore,although not all the texts in Shi Jing are in the form of acting,traces of performance can be found.The meaning of the story and its time in the preface of Mao Shi can be corresponding to acting.The pre-Qin poems are not only about music and singing,but a system of diversified comprehensive arts.In the Spring and Autumn period and the Warring States period,there was the loss of some of the acting space,but changes and breakthroughs had also taken place.