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这些所谓的男旦如同变色龙。菲尔德的名声来自其“变化多端，仪态万方”。基纳斯顿在男女角色间往来自如，在《沉默的妇人》中发挥得淋漓尽致，一人“出色地扮演了三个角色”，有男有女。他们乾坤不挡，让我们不由得怀疑，史家说他们扮演女人扑朔迷离，果其然否？这些史家认为，男旦既然专演女角，他们上台便自认为女人，观众也自动认其为女人。可是，我们看见了：他们不仅常常在男女角色间转换，甚至还能在同一出剧里扮演性别不同的角色。这就很难想象观众如何事先将他们认作女人了。 但他们乾坤不挡，大约也是一个原因，可以解释为何他们后来能够与女演员抗衡。他们表演的角色越多，观众便愈觉得他们表演的难度大，因此对他们愈加景仰，照普鲁塔克和卡斯特韦特罗的说法，也就愈把他们当艺术家看。薄伽丘说过一句我们现在耳熟能详的话：“显然费劲得到的比轻易得到的更珍贵，更令我们愉快，也留下更深的印象。”(24)假若男旦的艺术如上所述有赖于唤起观众注意男旦的辛劳和才艺，则其兴盛凭借的应当是一种对文艺的直觉，是一种跟着感觉走的现场反应，是对“奇技淫巧”的耽溺。说到人对新奇事物的耽溺，鲁迅曾经有过这样一段妙论：“我们是向来很有崇拜“难”的脾气的，每餐吃三碗饭，谁也不以为奇，有人每餐要吃十八碗，就郑重其事地写在笔记上；用手穿针没有人看，用脚穿针就可以搭帐篷卖钱……况且同是一事，费了苦功而达到的，也比并不费力而达到的可贵。譬如到什么庙里去烧香罢，到山上的，比到平地上的可贵；三步一拜才到庙里的庙，和坐了轿子一径抬到的庙，即使同是这庙，在到达者的心里的可贵的程度是大有高下的。”(25) 这段话要是添上莎士比亚的男旦和帕米农的猪猡作例子，也挺合适。 （作者系中央戏剧学院教授） 注释： ①The Diary of Samuel Pepys, edited by R. C. Latham and W. Matthews. 11 vols (Berkeley, 1970-1983),i, p. 224. ②Diary, ii, p. 7. ③John Downes, Roscius Anglicanus (1708), edited by Rev. Montague Suminmers, (London, 1928) . ④Lisa Jardine, Still Harping on Daughters: Women and Drama in the Age of Shakespeare (Harvester, 1983),pp. 1-8, pp. 9-36. See also Stephen Orgel, "Nobody's Perfect: Or Why Did the English Stage Take Boys for Women?", South Atlantic Quarterly, 88 (1989), 7-29 (especially pp. 17-18). ⑤BL: Lansdowne 98 f50, 5 October in Records of Early English Drama: Cambridge, edited by Alan H. Nelson, 2 vols (Toronto, 1989), II. p. 845. ⑥The reference is to Ben Jonson, edited by C. H. Hefford and Percy Simpson, 11 vols (Oxford, 1925-1952), vi (1938). ⑦John Russell Brown, "On the Acting of Shakespeare' s Plays", Quarterly Journal of Speech, 39 (1953),477-484, included in The Seventeenth Century Stage: A Collection of Critical Essays, edited by Gerald Eades Bently (Chicago 1968), pp. 41-54 (49). ⑧Marvin Rosenberg, Elizabethan Actors: Men or Marionettes, PMLA, 69 (1954), 915-927(p923). ⑨《诗学》陈中梅译注，商务印书馆，1996. Aristotle, Aristofle's Theory of Poetry and Fine Art with a Critical Text and Translation of the "Poetics", translated by S. H. Butcher (London, 1951)p. 15. ⑩Plutarch, The Philosphie, commonly called the Morals, written by the Learned Philosopher Plutarch of Choeronea, translated by Philemon Holland (London, 1603), 304. (11)H. B. Charlton, Castelvetro's Theory of Poetry (Manchester, 1913), p. 28. 英国文艺复兴时期，卡斯特韦特罗的著作尚未译为英文，不过英国诗歌形成期间，人们常常通过意大利文译本引用亚里士多德的《诗学》。见Gary Waller, English Poetry of the Sixteenth Century, Longman Literature in English Series (London, 1986), pp. 48-49. There is a full, though incomplete, translation, Castelvetro on the Art of Poetry: An Abridged Translation of Lodovico Castelvetro's Poetica d'Aristotele Vnlgarizzata et Sposta with Introduction and Notes, translated by Andrew Bongiorno, Medieval and Renaissance Texts and Studies, 29(Binghamton, New York, 1984). (12)Boccaccio, The Life of Dante, xxii, as quoted in Isabel Rivers, Classical and Christian Ideas in English Renaissance Poetry: A Students' Guide (London, 1979), p. 175. (13)The reference is to Ben Jonson, edited by C. H. Herford and Percy Simpson, 11 vols (Oxford, 1925-1952), VI (1938). (14)Pliny the Elder, Naturalis Historia. (15)The Four Fundamental Concepts of Psychoanalysis, translated by Alan Sheridan, Seminar of Jacques Lacan 11, paper back edition (New York, 1981) , p. 103. (16)伊丽莎白时代的男装花哨复杂，面容俊俏的帅哥和女人难以区分。拿尼古拉斯?希利亚德(Nicholas Hilliard, 1547-1619)的《穿礼服的夫人》与伊萨克?奥利弗(Isaac Oliver,1556-1617)的《无名青年》两相比较，就会一目了然。参见John Woodward, Tudor and Stuart Drawings(London,1949)，Plate. (17)The reference is to Trevor Lennam, Sebastian Westcott, the Children of Paul's, and "The Marriage of Wit and Science" (Toronto, 1975). (18)The reference is to The Complete Works of John Lyly, edited by R. Warwick Bond, 3 vols (Oxford, 1902),III. (19)据J.佩纳?考利耶，公共剧院最早使用女演员是在1629年11月4日，见The History of English Dramatic Poetry to the Time of Shakespeare: and Annals of the Stage to the Restoration,3 vols ( London, 1831), ii, p. 22. See also Gerald E. Bentley. The Jacobean and Caroline Stage, 7 vols (Oxford, 1941-1968) i,p. 25. (20)William Prynne, Histriomastix (1633) , Garland facsimile edition (London, 1974), p. 414. (21)据考利耶称，他在朗伯斯区坎特伯雷大主教图书馆的一堆乱纸中发现了这封信。见J.Payne Collier, ii, p. 24. Gerald E. Bentley accepts the authenticity of Collier's discovery, see his The Jacobean and Caroline Stage, i, p. 25. (22)Coryats, Crudities Hastily gobled vp in five Moneths trauells in France. Sauoy. Italy. Rhetia comonly called the Grisons country. Heluetia alias Switzerland, some parts of high Germany, and the Netherlands; Newly digested in the hungry aire of ODCOMBE in the County of Somerset. (London, 1611 ), p. 248. (23)The Life of Dante, xxii, as quoted in Isabel Rivers, Classical and Christian Ideals in English Renaissance Poetry: A Students'Guide (London, 1979), p. 175. (24)quoted in Gerald E. Bentley, Jacobean and Caroline Stage, i. p. 461. (25)“作文秘诀”，《南腔北调集》。 (责任编辑：admin) |