当代戏曲中西施形象的身份建构

The Identity Construction of Xi Shi in Modern Operas

西施形象的建构经历了从历史典籍中的抽象符号、诗歌作品中的审美对象到戏曲叙事的主体建构的三个基本阶段。二十世纪八十年代以后,以明代梁辰鱼的《浣纱记》为参照蓝本,中国的戏曲舞台上出现了诸多关于西施的戏曲,当代戏曲叙事赋予了西施美女身份、情人身份和母亲身份的多重建构,体现了红颜祸水、红颜痴情、红颜薄命等相似母题,但也有些作品也赋予了西施质疑男性权力、争取个体自主的主体意识,总体上体现了戏曲话语对女性身份的赋权、限制和建构。

The construction of Xi Shi's image experienced three stages: the abstract symbol in classical works,the aesthetic object in poetry,and the subjective construction in operas. Since the 1980s,based on Huan Sha Ji written by Liang Chenyu in the Ming dynasty,many operas regarding Xi Shi have appeared on stage in succession,which endowed Xi Shi with multiple identities like a beauty,a lover and a mother,expressing such motifs as a dangerous beauty,a spoony confidante and a miserable lady. Additionally,there are still other operas endowing Xi Shi with the capacity to query male power and to strive for the individual independence awareness. These works,in general,reflect that the opera discourse can empower,restrict and construct the female identity.