名角与文艺工作者:戏改时期马连良身份困境
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摘要
老生演员马连良在1949年之前有清晰的自我身份认知:京剧名角。1949年之后,新政权赋予其新的身份:文艺工作者。马连良成名于京剧"名角制"金字塔式的班社当中,在班社演出及其收入分配中他都居于中心地位。戏改后,作为文艺工作者,演员和观众间的经济联系被彻底切断,演出的主体从制度上、观念上都是政治挂帅。名角和文艺工作者两重身份具有深层次不可调和的矛盾,这也是以马连良为代表被改造失败的名角陷入身份困境的根本原因。
Before 1949,actor Ma Lianliang,who specialized in elderly male characters in traditional Chinese theatre,had a definite self-identity: Peking opera star. After 1949,he was vested with a new identity: literary and art worker. Ma Lianliang's fame rose from a Peking opera troupe with a pyramidal star system. He was in a central position in terms of both performing arrangement and income distribution. After the theatrical reform,the economic links between actors as literary and art workers and their audiences were cut off completely. Institutionally and conceptually,performance on the whole became politically oriented. Hence an irreconcilable conflict between some actors' identity as opera stars and their identity as literary and art workers,which is the essential cause of the identity dilemma that opera stars like Ma Lianliang,whose remolding failed,found themselves in.
Before 1949,actor Ma Lianliang,who specialized in elderly male characters in traditional Chinese theatre,had a definite self-identity: Peking opera star. After 1949,he was vested with a new identity: literary and art worker. Ma Lianliang's fame rose from a Peking opera troupe with a pyramidal star system. He was in a central position in terms of both performing arrangement and income distribution. After the theatrical reform,the economic links between actors as literary and art workers and their audiences were cut off completely. Institutionally and conceptually,performance on the whole became politically oriented. Hence an irreconcilable conflict between some actors' identity as opera stars and their identity as literary and art workers,which is the essential cause of the identity dilemma that opera stars like Ma Lianliang,whose remolding failed,found themselves in.
引文
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[4]傅谨.新中国戏剧史:1949-2000[M].湖南:湖南美术出版社,2002.
[5]章诒和.伶人往事——写给不看戏的人看[M].湖南:湖南文艺出版社,2006.
[6]李世强.马连良艺事年谱:1901-1951[M].北京:中国戏剧出版社,2011.
[7]马龙.马连良画传:1901-1966[M].北京:作家出版社,2011.
[8]北京市政协文史资料委员会编.京剧谈往录[C].北京:中国人民政治协商会议北京市委员会文史资料研究委员,1986.
[9]陈恬.森严与松散:“名角制”京剧班社结构初探[J].南京大学学报,2011(6):58-66.
[10]陈恬.京剧“名角制”成因初探[J].上海戏剧学院学报,2008(4):88-95.
[11]张艳梅.新中国“戏改”与名角的消亡[J].文艺研究,2012(4):96-103.
[2]槛外人.京剧见闻录[M].北京:宝文堂书店,1987.
[3]张炼红.历炼精魂:新中国戏曲改造考论[M].上海:上海人民出版社,2013.
[4]傅谨.新中国戏剧史:1949-2000[M].湖南:湖南美术出版社,2002.
[5]章诒和.伶人往事——写给不看戏的人看[M].湖南:湖南文艺出版社,2006.
[6]李世强.马连良艺事年谱:1901-1951[M].北京:中国戏剧出版社,2011.
[7]马龙.马连良画传:1901-1966[M].北京:作家出版社,2011.
[8]北京市政协文史资料委员会编.京剧谈往录[C].北京:中国人民政治协商会议北京市委员会文史资料研究委员,1986.
[9]陈恬.森严与松散:“名角制”京剧班社结构初探[J].南京大学学报,2011(6):58-66.
[10]陈恬.京剧“名角制”成因初探[J].上海戏剧学院学报,2008(4):88-95.
[11]张艳梅.新中国“戏改”与名角的消亡[J].文艺研究,2012(4):96-103.