民族化及其悖论——《梁祝》与十七年时期“民族形式”问题

Ethnicisation and Its Paradox:The Butterfly Lovers and “Ethnic Form” During the Seventeen-Year Period

作为政治话语的“民族形式”落实到文艺界,既包含一般理论问题,又包含具体的现实诉求:以理论上的“民族形式”指导实践,为创作提供具体方向。十七年时期,以《梁祝》为代表的民族化典范之作,从表面上看是对“民族形式”的延续,实际上完成了西方形式的运用与再创造。对“民族形式”理论下的创作实践进行问题谱系的延伸,有助于我们反思“民族形式”这一范畴的现实意义,为重新认识十七年时期艺术发展的现代进程提供了新视域。

The implementation of “ethnic form” as a political discourse in the field of literature and art is not only a theoretical issue and but also contains practical demands.It uses the “ethnic form” theories to guide practices and provides specific directions for the creation of works.During the seventeen-year period,The Butterfly Lovers appeared to sustain “ethnic forms”.However,it is the application and recreation of Western forms.Examining the creation practices under the theoretical framework of “ethnic forms” helps to rethink the practical significance of “ethnic forms” and the contemporary development of arts during the seventeen-year period.