嫦娥奔月神话在当代戏剧中的流变与重构——以女性主义视角为中心视阈

The Transformation and Reconstruction of the Myth of Chang’e Flying to the Moon in Contemporary Drama--Centered Around the Feminist Perspective

新中国成立以来,女性的社会地位发生了较大的变化,女性独立意识逐渐觉醒。“嫦娥奔月”作为中国四大神话之一,在众多神话中象征着一种独特的女性形象,在不同时代的诉求下出现各式各样的故事版本与解读,并逐渐演化成符合女性价值观的改编版本。从新中国成立至今,嫦娥形象流变可大致划分为“1949-1966年”“1976-1982年”“1982年至今”等3个阶段,它们揭示的嫦娥形象以及“奔月”主题将在越来越开放、自由的戏剧环境中拥有更加丰富的创新和创作空间。

Since the establishment of the People’s Republic of China,the social status of Chinese women has undergone significant changes and their awareness of independence has gradually awakened.Nowadays,Chinese drama requires more works that speak up for women to appear on stage.As one of the four major myths in China,Chang’e Flying to the Moon has a clear patriarchal color in its main content under the rule of feudal ideology that lasted for more than two thousand years.But due to the different demands of the times,Chang’e Flying to the Moon has erupted into rich and different versions,among which there have also evolved content branches that conform to the core values of feminism.Since the establishment of the People’s Republic of China,the evolution of the image of Chang’e can be roughly divided into three stages:“1949-1966”,“1976-1982”,and“1982-present”.The images of Chang’e and the theme of“flying to the moon”revealed by them will have richer innovation and creative space in an increasingly open and free theatrical environment.