摘要
《祝福》问世后有多种艺术形式,多个版本。比较其中有代表性的四个,会发现这四个版本就是四个时代的再现:1924年,鲁迅的《祝福》着力批判的固然有“有恶意的闲人”,但更着力批判的是由无数个“无恶意的闲人”构筑起来的“老旧中国”,矛头指向旧思想、旧礼教;1956年,夏衍编剧电影《祝福》则明显带有当时流行的“以阶级斗争为纲”的思路,矛头指向“剥削阶级”;“文革”结束,1978年,越剧电影《祥林嫂》删除了1956年版本中明显的关于阶级斗争的情节,但对“愚昧百姓”的批判仍持审慎态度;2008年,越剧《祥林嫂》则全面恢复了对原著的理解,重新将批评的对象转向鲁镇那些“无恶意的闲人”。从这四种诞生于不同年代的《祝福》我们可以读出时代变迁的轨迹,正所谓读诗亦为读史。
There are many art forms and versions of Blessing after its publication. Comparing the four representative versions, we can find that these four versions are the reappearance of four times: in 1924, Lu Xun's Blessing focused on criticizing the “malicious idlers”, but more on criticizing the “old China” constructed by countless “harmless idlers”, pointing at the old ideas and old ethics;in 1956, Xia Yan wrote the film “ Blessing ”. Obviously with the prevailing thought of “taking class struggle as the main line” at that time, the spearhead was directed at “exploiting class”;at the end of the Cultural Revolution, in 1978, the Vietnamese opera film “ Xianglin Sister ” deleted the obvious plot about class struggle in the 1956 version, but still held a cautious attitude towards the criticism of “ignorant people”;in 2008, the Vietnamese opera “ Xianglin Sister ” completely restored its understanding of the original work and re-established it. The object of criticism turned to those “harmless idlers” in Luzhen. From these four Blessings , which were born in different ages, we can read the track of the changes of the times, so reading poetry is also reading history.
作者
曾艳
ZENG Yan(Foundation Department,Zhejiang Vocational College of Art,Hangzhou,Zhejiang 310053,China)
出处
《岭南师范学院学报》
2019年第3期65-72,共8页
Journal of Lingnan Normal University
关键词
鲁迅
《祝福》
祥林嫂
Lu Xun
Blessings
XiangLin Sister
