如何呈现民众之“美”?——20世纪三四十年代的左翼戏剧“难题”与张瑞芳的早期表演

How to Present the“Beauty”of the Common People?An Issue Facing Left-Wing Theatre in the 1930s-1940s and Zhang Ruifang's Early Performances

对于民众之“美”的呈现,是20世纪30年代以来左翼戏剧中的一大难题。民众的角色定位和舞台形象是通过“明星”来具体落实的,由此,“明星”构成了考察这一问题时的重点。在抗战话剧“四大名旦”中,张瑞芳被称为“北国女儿”,暗示着她是自20世纪30年代起上海流行的好莱坞式审美之外的另一种“明星”类型。张瑞芳“美丽而不过分”的容貌,蕴含着普通民众通往美好的可能性;她所扮演的民众角色及其表演风格体现出“柔顺与反抗的二重性”,涉及救亡与启蒙的关系、群众的情感深度和理性判断能力、未来的政治潜能等问题。民众之“美”的问题在新中国成立后继续得到探索,张瑞芳一面积极学习扮演工农兵形象,一面仍在对李双双形象的塑造中呈现出“柔顺与反抗的二重性”。

The presentation of the“beauty”of the common people has been a major issue facing left-wing theater ever since the 1930s.Given that often it is“star actresses”who brought these people to life through their portrait of the roles and stage images,the“stars'performances”became a focus of this issue.Among the“Four Greatest Actresses”of dramas during the War of Resistance against Japanese Invaders,Zhang Ruifang was called the“daughter of the North”,implying that she was a different kind of“stars”from the Hollywood aesthetic that had been popular in Shanghai since the 1930s.Zhang Ruifang's“beautiful but not excessive”appearance implies the possibility of the common people's access to“perfection”.Her role as a common person and her acting style reflect a“duality of obedience and resistance”,involving many issues such as the relationship between national salvation and enlightenment,the emotional depth and rational judgment of the people,and the future political potential.The question of the“beauty”of common people continued to be explored in China after 1949.While Zhang Ruifang enthusiastically learned to play the roles of workers,soilders and farmers,her portrayal of Li Shuangshuang still showed a“duality of obedience and resistance”.