The Mental Structures and the “Class” Tastes Behind the Reinventing Historical Imagination: The Adaptation of the Peking Opera <i>The Lucky Purse</i> During the “<i>Xiqu </i>Reform” in the 1950s
摘要: 20世纪50年代戏曲改造运动期间,由于此时文艺场域结构中权力关系的变化、新旧认知图式之间的对立以及“误识性惯习”的中介作用,京剧“四大名旦”之一的程砚秋从人性、贫富、因果三方面对其代表作之一《锁麟囊》进行了策略性改编,试图弥合断裂的心智结构并走出认知困境。“信念”以“误识”的方式使程砚秋非理性地并置了难以调和的认知图式,在改编实践中强行嫁接“阶级性论”和“细腻人性论”,这一实践本身及相应作品也因此成为“败笔”。前后剧情、立意、人物形象迥异的《锁麟囊》表征着主观心智结构和客观社会结构的互构机制,相应的实践过程也凸显了布尔迪厄有关场域、惯习、符号权力的系统性理论中强调时间性和行动者能动性的一面。
Abstract: During the 1950s Xiqu Reform, Cheng Yanqiu, one of the “Four Famous Dan Actors” of Peking Opera, strategically revised his representative work The Lucky Purse through three dimensions—human nature, wealth disparity, and karmic causality—in response to shifting power relations within the cultural-artistic field, the opposition between traditional and revolutionary cognitive schemata, and the mediating role of allodoxic habitus. This revisionary practice sought to reconcile fractured mental structures and transcend cognitive dilemma. Through the mechanism of allodoxa/misrecognition, doxa/belief induced Cheng to irrationally juxtapose the fundamentally irreconcilable cognitive schemata of “class-habitus theory” and “specific-situated-nuanced-habitus theory” in his adaptation practices. This grafting of two ideological frameworks ultimately rendered both the adaptation practice itself and the corresponding work became “failure”. The plot, intention, and characters of The Lucky Purse, which are very different from those of the previous and the next, represent the inter-constructive mechanism of the subjective mental structure and the objective social structure, and the corresponding process of practice also highlights the aspect of Bourdieu’s systematic theories of field, habitus, and symbolic power that emphasizes the temporality and the agency of the agent.
[V1] | 2025-04-16 13:01:33 | PSSXiv:202504.02014V1 | 下载全文 |
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