论昭君题材历史剧的创作模式——从元杂剧《汉宫秋》到当代“昭君戏”

On the Creation Mechanism of Zhaojun Historical Drama——From Zaju in the Yuan Dynasty Autumn in the Han Palace to the Contemporary Local Opera"Wang Zhaojun"

从马致远的杂剧《汉宫秋》,到郭沫若和曹禺的话剧《王昭君》,再到当今地方戏舞台上不断上演的昭君戏,昭君出塞一直是戏剧创作的经典题材。然而细究昭君戏发展的整个历程,可以发现昭君故事经历了一个不断重构的过程,最终在当今的戏曲舞台上形成了两种不同的创作模式——从《汉宫秋》延续下来的“昭君怨”的传统模式,以及曹禺作品影响下形成的“昭君颂”模式。两种模式的共性:没有脱离历史真实与艺术真实、个体意识与家国诉求、文化记忆与时代重构的三重维度,围绕这三重维度进行的取舍、考量和重塑不仅在昭君历史题材剧的创作中有所体现,而且许多同类型的历史题材戏曲作品也具有同样的创作表现。

From Ma Zhiyuan’s drama Autumn in the Han Palace to Guo Moruo’s and Cao Yu’s drama Wang Zhaojun,to today’s Zhaojun Historical Drama on local drama stage,Zhaojun’s going out of the fortress has always been an important motif in drama creation.However,a careful study of the whole process of the development of Zhaojun Opera shows that the story of Zhaojun has actually undergone a process of deconstruction and reconstruction,and has finally formed two different creation modes on the stage of today’s opera——the traditional mode of“Zhaojun’s resentment”inherited from Autumn in the Han Palace,and the new mode of national unity formed under the influence of Cao Yu’s works.The generation of the two modes also has its similarity,and they are not separated from the triple dimensions of historical reality and artistic reality,personal feelings and family and country aspirations,cultural memory and era reconstruction.The selection,consideration,and reshaping around these three dimensions are the creative mechanism of Zhaojun’s historical drama.In fact,many historical themed opera works of the same type also have similar creative mechanisms.