【作者】 惠雁冰；

【导师】 赵学勇；

【作者基本信息】 兰州大学 ， 中国现当代文学， 2009， 博士

【摘要】 本论文共三大部分，主要由绪论、正文及附篇构成。“绪论”主要阐述了本论题的选题依据、研究意义以及40多年来国内“样板戏”研究的现状与局限，旨在揭示“样板戏”是“文革”时期一种特殊的政治事象、文化事象与美学事象，含蕴着现代中国在追求民族新生的道路中所扭结的多种矛盾与困惑。“样板戏”研究只有建立在整体性观瞻的学术视野下，有关“样板戏”的生产机制、艺术表现，包括盛行、衰亡及回潮等一系列复杂问题才能得到切实的解答，“样板戏”的艺术价值才能得以公正、理性的评价。正文共四章，主要阐述了“样板戏”与传统戏曲现代化探索历程及无产阶级革命文学经验的结构性关系，并就“样板戏”的独特艺术成就及复杂的结构内涵给予客观分析。其中，第一章，论文将“样板戏”置于40到60年代中国戏曲现代化探索的艰难历程中来考察，从戏曲现代化路向的艰难追寻起笔，详细梳理了三个时期三种阶段性的戏改成果。然后，集中透视“样板戏”与64年全国京剧会演成果的紧密关联，并对“样板戏”出台前的淬炼、最后的命名，以及全国性的流播进行了全面的清理。由此得出，“样板戏”是40到60年代中国传统戏曲现代化实验的最终成果，是在民族现代化历程中展开的中国整体文化现代化的一翼，“样板戏”的出台体现着中华民族特定现代性的种种印痕。尽管，“样板戏”的建构方式极度彰显出其国家意识形态的本质，但客观来讲，“样板戏”激活了传统戏曲的生命力，为传统戏曲的现代化转型提供了可资效尤的途径，尤其对于今天寂寥日久的戏曲舞台更具警示性与启发性。第二章，论文将“样板戏”置于无产阶级革命文学的生成关系中来考察，首先追溯了无产阶级革命文学的衍化及其主导性文学经验的形成，清理了左翼文学、解放区文学、“十七年文学”之间的内在关联，然后集中就“样板戏”对“十七年文学”经验的提纯性整合进行了详细的体察。为了具体切开“样板戏”创作理论的内在肌理，本章特从“样板戏”的“历史观”入手，分别就“样板戏”体现出来的“历史运动规律”、“历史真实性”、“历史合力”及“英雄个体”四个方面展开论述，既指出其强行附加的政治意义，也适度分析了学界粗暴评解“样板戏”理论的缺陷。最后得出，左翼文学、解放区文学、“十七年文学”与“文革文学”中的“样板戏”是无产阶级革命文学发展阶段中四个内涵不断封闭、结构日趋严整的有机环节，四个阶段并没有本质上的差异，只有艺术表现程度的不同，分别对应着不同历史状态下文学与政治的亲缘关系。“样板戏”不过是对与其关系最切近的“十七年文学”经验的高度整合而已。这种“整合”与激进主义盛行的“文革”政治紧密关联，但也不能忽略“样板戏”作为戏曲样态的特有表现规律，尤其不能忽略特定时代的历史需求与民众心理。所以，这种“整合”又含有现时性、策略性、实效性的成份。第三章，论文以“样板戏”对传统京剧艺术质素的历史性置换与对芭蕾艺术品格的本土化改写两大板块，集中考察了“样板戏”在艺术方面的巨大突破。并且，在此基础上，鲜明指出“样板戏”在唱腔、表演、程式运用、唱词、音乐等方面的种种艺术缺憾。同时，就“样板戏”对革新当下戏剧艺术的启示也进行了理性的归纳。此外，还清理了“样板戏”与“文革”及江青的关系问题。由此得出，“样板戏”是被“文革”政治所借用、命名的一种特殊艺术形态，与“十年浩劫”并没有直接的逻辑对应关系，与江青的政治野心也不能机械等同。“样板戏”在当时的繁盛是政治上层、各阶段艺术工作者及全力响应的广大民众等上下三重力量共同作用下的结果。作为一种实验性的民族文艺形态，“样板戏”在传统艺术现代化与西方艺术中国化的总体变革思路下，通过国家意识形态的全力构设和精心策划，对京剧艺术与欧洲芭蕾艺术进行了大胆的突破与建设性的创新。尽管受政治环境的制约，“样板戏”的改革动力不可避免地与当时激进的意识形态革命联系在一起。但公正而言，单就是“样板戏”对传统与现实、异域文化与民族艺术的化合融变，再高的评价也并不过分，毕竟“样板戏”代表了那个时代所能达到的最高水平。第四章，论文主要阐述了“样板戏”独特的结构内涵，分别以“显在的政治意义秩序”与“潜在的民族文化内质”两部分展开。第一部分揭示了“样板戏”外层包裹的强烈的政治意义秩序，第二部分指出了“样板戏”在叙事模式上对民族叙事传统及民族文化心理结构的暗合与投射。然后就“样板戏”多重结构形成的原因进行了理论阐述，并从接受者的文化心理入手，对“样板戏”在“文革”时期的盛行、90年代的回潮现象进行了重新观照。由此得出，“样板戏”是“文革”时期民众精神心理的典型表达，在结构上体现为政治胞衣与民族文化内质的深层扭结。“样板戏”所葆有的这种极富张力的艺术格局，为当时的流行及后来的回潮奠定了民众心理接受的逻辑起点。时下“样板戏”的热行不过是其特殊的结构形态与90年代特殊的人文困境历史性遇合的结果，观众对“样板戏”的沉浸更多是寻找一种久违的理想激情，出于对抗平淡人生的一种心理渴望。“样板戏”的出台与66年的《二月纪要》有直接关系，为了重回历史现场，论文以“附篇”形式专门考察了《二月纪要》的出台始末及主要内容，并就其浓郁的意识形态特征及某些依然尊重艺术创作规律的合理信息进行了理性梳理，意在说明历史内里的复杂性与矛盾性，为“样板戏”研究的整体性视野拓开一条或许有益的路径。更多还原

【Abstract】 The present dissertation is composed of three parts: a preface, a body, and an attachedpassage.The preface part elaborates on the basis of subject selection, research significance, thepresent state and the limitations of China’s Revolutionary Modern Beijing Opera in thepast 40 years. It attempts to bring to light that Revolutionary Modern Beijing Opera is aparticular political, cultural, and aesthetical phenomenon during the Cultural Revolutionwith an embodiment of various contradiction and confusion knotted in China’s pursuit ofits national rebirth. Only when the study of Revolutionary Modern Beijing Opera is basedon overall academic perspective can we find an answer to a series of complicated problemslike its productive mechanism and artistic representation including its prevalence, declineand recurrence. Consequently, its artistic value can be evaluated fairly and rationally.The body part is composed of four chapters, mainly elaborating the constructiverelations between the exploration of traditional and modern opera with proletariaterevolutionary literature experience. It also makes an objective analysis of the specialartistic achievement and the complicated structural connotation of the RevolutionaryModern Beijing Opera.The first chapter, placing the Revolutionary Modern Beijing Opera in the course ofChina’s opera modernization during the 1940s and 1960s, traces back to the hard pursuit ofthe opera modernization course, explains the three stages of opera reform achievements inthree periods. It is followed by an explanation of the close relationship between theRevolutionary Modern Beijing Opera and the national Beijing opera performanceachievements in 1964 and an overall interpretation of its pre-issue tempering, naming andthe nation-wide publicity. It aims to reveal that the Revolutionary Modern Beijing Opera isthe final outcome of the modernization experiment of the traditional opera from 1940 to1960 and a part of China’s overall cultural modernization folded in the process of nationalmodernization with its publicity embodying the prints of Chinese nation’s particularmodernness. Although the constructive model of Revolutionary Modern Beijing Operarepresents fully the essence of the nation’s ideology, it activates vitality of the traditional opera and provides an exemplary approach to the modernizational turn of the traditionalopera and especially serves as a profound admonishment and implication of today’slonesome opera stage.Chapter two of the paper explores the Revolutionary Modern Beijing Opera in thegenerating relations of the proletariate revolutionary literature. It goes back to the origin ofthe evolution and shaping of the leading literature experience of the proletariaterevolutionary literature, making clear the inner relations between left-wing literature,liberation zone literature and the "17-year literature" with a detailed observation of therefined integration between the Revolutionary Modern Beijing Opera and 17-year literature.In order to cut the inner composition of the Revolutionary Modern Beijing Opera creationtheory, chapter two, beginning with its historic perspective, makes an argument from thefour aspects represented by the Revolutionary Modern Beijing Opera: historic movementpattern, historic truthfulness, historic resultant. It not only points out the politicalimportance imposed on it, but makes a rational analysis of the theoretical shortcomings ofcruel academic criticism of the Revolutionary Modern Beijing Opera. It concludes that theleft-wing literature, the liberation zone literature and the 17-year literature and theRevolutionary Modern Beijing Opera are four dynamic segments with increasinglyconfined connotation and well-organized structure. The four stages are only different interms of aesthetical representation, conforming to the literary-political ties of differenthistorical situations. The Revolutionary Modern Beijing Opera is nothing but a highintegration of the 17-year literature experience which is closest in relation to it. Thisintegration is closely connected with the rational Cultural Revolution politics. However, itis not to be neglected that it has a particular law of representation as a form of opera and itsspecial historical needs and the mass psychology. Therefore, this integration is also modern,strategic and practical in a sense.Chapter three explores the great artistic breakthrough of the traditional Beijing operafrom its historical substitution of the traditional art of Beijing opera and its localizedrewriting of the ballet artistic character. Based on this, it points out that the RevolutionaryModern Beijing Opera, despite its great artistic achievement, has the shortcomings inmelody, performance, procedure, libretto and music. This chapter also gives a rational analysis of the traditional Beijing opera’s artistic implication on the present day playperformance and makes clear the relations between the traditional Beijing opera and theCultural Revolution. Therefore, it is a special artistic form harnessed by the CulturalRevolution politics and does not correspond logically and mechanically to the CulturalRevolution catastrophe and Jiang Qin’s political ambition. The Revolutionary ModernBeijing Opera is the collective efforts by the then prosperous political upper class, artisticworkers at various stages and the mass population. As an experimental national artisticform, it makes a brave breakthrough and constructive innovation of the Beijing opera andballet. Limited by the then political situation, the reforming momentum of theRevolutionary Modern Beijing Opera is inevitably linked to the rational ideologicalrevolution. However, in terms of the Revolutionary Modern Beijing Opera’s role in theintegration of the tradition and the reality, the alien culture and the national art, it deserveshigher evaluation. After all, the Revolutionary Modern Beijing Opera represents thehighest level of the time.Chapter four elaborates on the particular structural connotation of the RevolutionaryModern Beijing Opera with two sections of overt political significance order and covertnational cultural quality. The first section reveals the outer layer of its strong politicalsignificance order, while the second section points out its coincidence and projection to thenational narrating tradition and cultural psychology from a narration pattern. It makes atheoretical discussion of the reasons for the forming of the Revolutionary Modern BeijingOpera’s multi structure. Starting from the recipient’s cultural psychology, the chapterreexamines the popularity of the Revolutionary Modern Beijing Opera in the CulturalRevolution and its resurgence in the 1990s. It proves that the Revolutionary ModernBeijing Opera is a typical representation of people’s mental psychology and is embodied instructure as a deep connection between political afterbirth and national cultural essence.The artistic pattern with a great pulling force serves as a logic starting point for the nationalpsychological acceptance of the then prevalence and the resurgence of the RevolutionaryModern Beijing Opera. The present day popularity of the Revolutionary Modern BeijingOpera is nothing but a historical encountering of its special structural form and thehumanity calamity of 1990s. The audience’s intoxication of the Revolutionary Modern Beijing Opera is more a passion of ambition pursuit and a psychological thirst against aninsipid life.The emergence of the Revolutionary Modern Beijing Opera is directly linked with TheFebruary Summery issued in 1966. To reflect that part of history, the paper studies thewhole story of The February Summery in an attached passage, making a clearorganization of its ideological characteristics and the information conforming to artisticcreation with an aim to illustrate the complication and the contradiction of the history andpioneer a possibly useful approach to the overall view of the Revolutionary ModernBeijing Opera study.更多还原