张一弓小说的“跨文体”传播——以《流泪的红蜡烛》为例

The“Cross-style”Dissemination of Zhang Yigong’s Novels--Taking Red Candle With Tears as an Example

1980年代,张一弓的小说被改编曾成为引人注目的现象。以中篇小说《流泪的红蜡烛》为例,除被改编为电影外,还被改编为话剧以及梨园现代戏、河北梆子、花灯剧、楚剧等多种地方戏剧目。此外,根据小说原作以及同名电影改编的连环画,至少就有四个版本。一方面,张一弓的小说原作本身,为不同艺术形式的改编提供的不仅仅是故事情节,还有丰厚的思想资源和“见微知著”的时代特质;另一方面,他的小说也因为改编之后的“跨文体”传播,其受众才得以呈“几何级”递增。对文学研究者而言,通过研讨与考释作品的不同版本、作品的“跨文体”传播,进而更深刻、更精准地解读文学文本和文学意蕴,应该说是一条崭新的有待深耕细作的路径。

In the 1980s,the adaptation of Zhang Yigong’s novels became a remarkable phenomenon.Taking the novel Red Candle with Tears as an example,in addition to being adapted into a film,it has also been adapted into a drama and a variety of local operas such as Liyuan Modern Opera,Hebei Clapper Opera,flower lantern opera,and Chu Opera.In addition,there are at least four comic strips based on the original novel and the movie of the same name.On the one hand,the original works of Zhang Yigong’s novels provide not only the plot,but also rich ideological resources and the characteristics of The Times.On the other hand,because of the“cross-style”dissemination of his novel after adaptation,its audience can be“geometrically”increasing.For literature researchers,it should be said that it is a brand new path to understand literary texts and literary meanings more deeply and accurately through the study and interpretation of different versions of works and the“cross-style”dissemination of works.