「十七年」戲劇中「梁山好漢」形象的文本再構

Textual Reconstruction of the Image of “Liangshan Hero” in the Drama of the Seventeen Years

「十七年」是繼元明清之後「水滸戲」創作及其改編的繁榮時期，「水滸戲」也成為此一階段被創作及改編最多的傳統劇碼之一。「梁山好漢」作為最為典型的革命歷史人物，在「十七年」戲劇文學中「自覺改造」、「自我成長」成為引導、教育群眾和推動社會前進的主要英雄人物，並表現出高度的利他主義精神和完美的道德人格，成為扭轉乾坤、拯救人民群眾的「正義之父」。需要指出的是，「十七年」時期由政治主導的創作思想使得「梁山領袖」宋江的塑造出現兩極分化現象，不僅造成戲劇角色的「身份之痛」也造成劇作家的「創作之痛」。總體而言，「梁山好漢」是中國劇作家想像革命的一種方式，「十七年」對「梁山好漢」形象的文本再構，豐富了二十世紀「水滸戲」的藝術想像空間和人物畫廊。

“Seventeen Years” is a period of prosperity and creation of “Water Margin Drama” after the Yuan, Ming and Qing dynasties. “Water Margin Drama” has also become one of the most created and adapted traditional dramas at this stage. As the most typical revolutionary historical figure, “Liangshan Hero” made “conscious transformation” and “self-growth” in drama literature during “17 years” as the main hero to guide, educate the masses and advance the society. With a high degree of altruism. his spirit of moralism and his perfect moral character have epitomized the “Father of Justice,” who can turn things around and save the people. What needs to be pointed out is that the “ideological pain” of the dramatic role also causes the “pain of creation” of the dramatist as a result of the politically dominant creative thinking of “Liangshan leader” Song Jiang during the “17 years” period. Overall, “Liangshan Hero” is a way for Chinese dramatists to imagine the revolution. The reconstruction of the image of “Liangshan Hero” in “Seventeen Years” enriches the artistic imagination space and figure gallery of “Shuihu Drama” in the 20th century.