戏曲人物视界的穿越、隐身和演述方式--从薛仁贵故事的嬗变谈起

明代薛仁贵故事嬗变中出现的演述方式首先表现为“超视界演述”，即角色以念诵后代诗词的方式召唤观众返回现实生活，切勿沉迷戏曲，也体现了作家的演述“干预”。其次表现为以黄门官代表帝王的“隐身”现象，来自严酷的文化政策。艺人的传承使它们成为常见的戏曲演出模式。戏曲作家以“演述干预”、插科打诨和类比手法，既表达了对主角薛仁贵和他的对手摩利支的赞赏，也表现了对反面角色张士贵的嘲讽。

The opera characters horizon crossing,stealth narration and other Yanshu performance style in the adaptation of hero Rengui Xue story

The phenomenon of “super-vision” in opera characters through time and space narrate plot in advance, is a way of the expression of Yanshu“intervention”.Dramatis recite the poems formation mode after“summon” the audience returns reality, sav-ing the time go to the theater, to improve economic efficiency.Drama takes the Huangmen official to stand for imperial power.The formation of the phenomenon of hidden emperors stem from the cultural of psychological taboo and harsh policies of opera.Afterward, players succeed to opera skills and become opera performance mode.Playwrights use the Yanshu “intervention” and gags to reflect in-tentions and make fun, and to guide the audience’ s feelings of orientation.Playwright use Analogy express Warrior appreciation to positive heroes Rengui Xue and Molizhi, and a mockery of the negative roles Shigui Zhang.