戏曲电影中的女鬼:以越剧电影《情探》为例

Female Ghosts in Chinese Xiqu Films:A Case Study of Yue Opera Film A Test of Love

从1958年到1960年短短两年间,来自不同戏曲剧种的三部鬼戏被成功搬上银幕,分别为越剧电影《情探》、蒲剧电影《窦娥冤》、弋阳腔电影《还魂记》。越剧《情探》而非川剧《情探》被选中搬上银屏,这与编剧田汉夫妇的文化政治影响力、傅全香的明星效应,以及1957年越剧《情探》舞台版的大获成功密切相关。越剧电影《情探》提供了一套将戏曲与电影两种媒介进行成功融合的方案:谨慎控制电影特效,以保留传统戏曲中的创造性场景过渡;利用黑白色调,以凸显中国及世界电影中黑白片的情感表达与灵异题材之间的密切关系;巧妙切换布景和不同表演风格,以彰显阴界之“虚”与阳界之“实”的对比。

In the short span between 1958 and 1960,three famous ghost plays,each drawn from a different regional Xiqu tradition,were successfully made into films:the Yue Opera film A Test of Love,the Pu Opera film The Injustice to Dou E,and the Yiyang Tune film The Return of the Soul.The main reasons that the Yue Opera version of A Test of Love was chosen over the Sichuan Opera version for the film adaptation in 1958 were closely related to the cultural and political influence of screenwriters Tian Han and his wife,the star effect of Fu Quanxiang,and the great success of the 1957 stage version of the Yue Opera.It offered a set of successful solutions to the transmediation of Xiqu from stage to screen.There are extreme restraint with special effects so as not to upstage the creative scene transitions in Xiqu,using black and white tones to highlight the close relationship between emotional expression and supernatural themes in Chinese and world films,and skillful deployment of the mise-en-scene and different performance styles to bring out the contrast between the false world of the dead and the real world of the living.