越剧《梁祝》的剧本改编与爱情建构

The Script Adaptation and Love Construction of the Yue Opera Liang Zhu

比较分析1954、1995、2006年上演的三个越剧《梁祝》剧目在情节设置、人物形象和叙事手段等方面的异同,可以考察越剧《梁祝》剧本改编所建构的爱情观念。1954版越剧《梁祝》的情节框架被新编剧本延续,其一见钟情、殉情模式、爱情至上观念等被进一步渲染。晚近的剧本增加了相爱过程,使梁祝爱情具有具体行动和情感双向交流的细节,建构了一种友谊式的爱情类型。在人物设置方面,新编剧本中的祝父形象更加温和,梁祝爱情的抗争意义被弱化;梁山伯德才兼备、细心关爱的兄长形象,削弱了祝英台的女性自主性,梁祝的性别关系回归传统的“男主动女被动”模式。晚近的改编还通过叙述者干预、意象化等手段,强化宿命论的爱情观。越剧《梁祝》叙事中殉情行为的消极性、宿命论观点的无力感、性别关系的传统模式需要加以反思和突破。

This paper compares and analyzes the plot settings,characters and narrative devices of the three Yue Opera Liang Zhu plays staged in 1954,1995 and 2006,which enables us to examine the concepts of love constructed by the adaptation of the Yue Opera Liang Zhu.The plot framework of the 1954 version of the Yue opera Liang Zhu was continued by the new scripts,and the love at first sight,martyrdom mode,and the concept of love supremacy were further rendered by the scripts.The difference is that the recent script adds the plot of the love process,so that Liang Zhu’s love has the details of specific actions and two-way communication of emotions,constructing a friendship-style love type.In terms of character setting,the image of Zhu’s father in the new script is gentler,which weakens the significance of Liang Zhu’s love in fighting against the social pressure.The brother image of Liang Shanbo with both virtue and talent as well as careful care in the recent script weakens Zhu Yingtai’s female autonomy.Liang Zhu’s gender relationship returns to the traditional“male active female passive”model.Recent adaptations also reinforce the fatalistic view of love through narrator intervention and imagery.The negativity of martyrdom,the powerlessness of fatalistic perspectives,and the traditional model of gender relations in the narrative of Liang Zhu need to be reflected on and broken through.