《锅碗瓢盆交响曲》：从小说到电影
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摘要
一、绪论
蒋子龙的中篇小说《锅碗瓢盆交响曲》获得了热情、持久的关注,很多论者从诸角度赞扬了这部小说的成就。与之相比,滕文骥根据这部小说自编自导的同名电影则经受了更多的争议,不少人认为这部影片所表达的情绪、美学与“哲思”脱离了影片中的生活内容。批评者往往将该片与小说《锅碗瓢盆交响曲》进行对比,从而评定其优劣成败。他们的一个共同前提是:根据小说拍摄的电影归根结底应该传达给观众的是原著小说的“精华”或“根本”。这就电影艺术的范畴来说无疑是颇有合理性的,不过,从文本分析的角度来讲,小说和根据小说拍摄的电影应当看作是两个文本,电影对小说的指涉也应当进行互文性分析。本文的研究就是尝试以这样的方式重新梳理《锅碗瓢盆交响曲》从小说文本到电影文本的真正差异。笔者以为,这将增进我们对改革开放初期文艺的理解。
二、小说《锅碗瓢盆交响曲》:铿锵、清新的改革之声
1、“盘山路”式的独特结构
小说《锅碗瓢盆交响曲》的叙事结构是:两个时段发生的事情交替叙述,其中,时段Ⅰ从主人公萌生“雄心”的时候开始,延续到另一个时段的开端,即小说情节的中间点——主人公“命运的低潮”,而以此为开端的这个时段——时段Ⅱ会延续到小说情节的真正终点。整个小说里总共有十个小标题,即分成长短不一的十章,第四章接续第二章的故事,这个故事在第六章和第八章延续;第一章、第三章的故事则在第五章、第七章继续讲述。到第八章结束的时候,“起点如何推进到中间点”这个过程已经叙述完了,第九章则给了小说最开头的矛盾一个解决。最后的第十章顺承了第九章的叙事,一方面从时间来讲是时段Ⅱ故事的尾声,另一方面,从主题来讲,是时段Ⅰ故事的结局。如果把两个时段的故事比喻为山体的两面,读者在一面时看不到另一面的风景,蒋子龙铺就的道路则是连贯地交替行进于两面,旋绕着通向山顶——故事的结局。是故,笔者称其为“盘山路式”结构。
2、紧张而诙谐的戏剧性场面
与“盘山路”式的结构相应,蒋子龙在《锅碗瓢盆交响曲》中采用了以戏剧性场面讲述故事的手法。凭藉这样的手法,文体有些“先锋”的小说实现了结构紧凑,热闹好看。蒋子龙在情节中提炼戏剧性元素、构思戏剧性冲突的本领是很高的,发挥了戏剧性场面的表现力。《锅碗瓢盆交响曲》中戏剧性场面的成功,得力于“反常”法、“陡转”法、“斗智”法、“剪接”法等文学技法的娴熟运用。这本小说中戏剧性场面的总体特征是紧张与诙谐的结合。作者擅于掌控笔下的气氛,每一个场面都敢于渲染紧张,而又能不流于僵硬;随兴点缀诙谐,而又能不流于轻浮。小说中也有一处为了追求戏剧性场面而或许有些失真的地方,但不过是白璧微瑕。
3、改革风云中的众生相
小说《锅碗瓢盆交响曲》的结构是精致的,风格是爽利的,格调是清新的。作者自始至终不曾沉湎于任何低回的情绪或琐细的感受,惟从大处着眼。作者眼中的“大处”就是当时正席卷着中国大地的改革风云。在作者着力呈现的改革风云中,最闪光的形象当然是主人公牛宏。正是在政治经济转型期的风云际会中,牛宏这样一个有着独特能力和独特性格的人成了时代的骄子。小说里另一个极富时代气息,让人印象深刻的形象是外号“牛大学问”的牛华。与此前那个时代的文学里纯洁伟大的女英雄、女模范相比,她多了些市井气息;与此后那个时代的文学里微琐庸凡的女市民、小女人相比,她又多了些理想气息。作家呈现给我们的其实是那个时代一个爱读书、有良知的平民百姓很真实的思想与言谈,让我们觉得如闻其声,如见其人。钟警深这个人物敢于直言不讳、善于化解矛盾,从根本上说,他是在非常了解现实的基础上,积极改进现实。善于化解矛盾体现了他充分熟悉现实中的人情世故、利益纠葛。敢于直言不讳则体现了他并不囿于现实,更不随波逐流,内心有强大的理想信念。这无疑是那个时代一个最有闯劲的改革家形象。饮食公司经理游刚和春城饭店的服务员“阶级斗争脸”孙连香则是反改革的力量。他们反改革绝非有什么系统的理论依据。如果说游刚压制牛宏的改革举措还有自己的既得利益受到威胁的原因,孙连香却仅仅是因为旧时代的惯性,以及自觉自己在旧体制下能如鱼得水、有前途。作家成功描画了改革风云中生动的众生相,异彩纷呈,时代气息浓郁,这可以说是小说《锅碗瓢盆进行曲》最大的成就。
三、电影《锅碗瓢盆交响曲》:彷徨、唯美的青春乐章
1、散文化的声画节奏
电影《锅碗瓢盆交响曲》的叙事自始至终没有一个确定的情节重心或趋向,创作者自然也就不是以情节的轻重缓急来调整叙事节奏,与讲述某一个故事相比,他更耽于剪辑那些有意境、有情趣或有美感的段落,无论是市场、院落、饭店里的日常生活,还是雨中、水畔、山间的情景交融,甚至与情节毫无关系的京剧演出,都让导演乐在其中。这样的结构无疑是导演刻意为之。不少学者把本片的叙事方式归为“纪实性”,这不太恰当。本片的叙事是随性的,声画是唯美的,与其称为纪实性,不如称为散文化。另外,导演在倾心于感觉情调的同时也特别考虑了形式上的照应,以此维持作品基本的完整感,这也正是八十年代流行的散文手法。散文在现当代中国文学中又常常被称作“美文”,本片无疑是一篇电影中的“美文”。
2、青春路途上的彷徨
电影中的牛宏形象,是迷茫、彷徨的,连他的“敢想、敢说、敢做”有时也更像是鲁莽而不像是勇气。导演以唯美的声画,讲述了有些躁动、有些兴奋,也有些伤感的青春。在小说《锅碗瓢盆交响曲》中,构成核心冲突的游刚—牛宏之争,是牛宏“改革先锋”形象得以树立起来的基点和关键。游刚在小说里是傲慢的、庸庸碌碌的、装腔作势的,甚至是有点恶毒的。电影里的游刚却没有任何的不正常、不道德之处,只是尽了一个公司领导的本分,最多是在思想上不够“大胆”。在电影里,游刚充其量是一个有些“昏”,有些好面子,但不失慈和的长者,牛宏却常常成了不知深浅的小青年形象。影片创作者在意的是青春情绪的浸染,牛宏与游刚的矛盾在这里成了热血青年与固执长者的冲突,冲突双方并无“正义—非正义”或“进步—落后”之分。在“改革”这个宏大的叙事框架中表现牛宏的青春彷徨毕竟有太多的局限,因此滕文骥着力开拓了“爱情”的叙事领域。在电影里牛宏与满凤的关系中,观众感到了牛宏青涩的“残忍”,这感受强烈地提醒观众:牛宏首先是一个放肆成长着的青年,我们讲述的是一个青春故事。
四、结论:从小说到电影的意蕴探析
从小说《锅碗瓢盆交响曲》到电影《锅碗瓢盆交响曲》,两个文本的叙事语态、情节意象、人物关系都有着根本区别。形式的剧变背后是意蕴的歧异,从分别在两个文本中反复出现的两个比喻可以探析这一点。小说《锅碗瓢盆交响曲》中的一个比喻是“花”,这个比喻蕴含的是理性主义的乐观:只要我们的社会破除陈规陋习,给人们一个自由发展的环境,并且合理地呵护、培育每个人的个性和才能,人就会获得伟大的成就。作家写下这本小说,眼中似乎也看到了改革稳步推进的社会主义中国在不远的将来成为一个“群芳争妍的大花圃”之壮美景象。电影《锅碗瓢盆交响曲》中的一个比喻则是“路”。这个比喻浸润着一种坚忍的人生观:未来是未知的,也是人力难以掌控的,人的抉择其实都是盲目的,惟一能做的就是坚持自己的抉择,尽量走好自己所抉择的“路”。这是一种很深沉的悲剧意识。小说《锅碗瓢盆交响曲》抒发了自由的快乐,电影《锅碗瓢盆交响曲》表达了抉择的困惑,同名意趣的两部作品,恰恰反映了那个时候中国大陆文艺家多样的审美倾向正在悄然滋长。
1. Introduction
Jiang Zilong’s novel Symphony of Pots and Pans has gained fervent and enduring attention. Many critics have spoken highly of the achievements of this novel from various perspectives. Compared with that, the movie with the same title which is adapted and directed by Teng Wenji according to the novel is subjected to more controversies. Quite a few people think that the emotion, aesthetics and the“philosophical thinking”reflected by the film have deviated from the life in the film. The critics often compare the film with novel Symphony of Pots and Pans to assess the quality and success. They share a common premise that the film adaptation based on the fiction should ultimately convey“the essence”or“the fundamental”of the original novel to the audience. It is quite reasonable as far as the art of film is concerned. However, from the perspective of text analysis, the novel and the film adaptation based on the novel should be seen as two texts. The references of the film to the novel also need intertextual analysis. This thesis tries to comb the actual differences between the novel text of Symphony of Pots and Pans and the text of the film adaptation. The author believes this will enhance our understanding of the art and literature of the beginning stage of China’s reform and opening-up.
2. The Novel Symphony of Pots and Pans: Sonorous and Fresh Voice of the Reform
1. The Unique“Winding Road Type”Structure
The narrative structure of the novel Symphony of Pots and Pan is the alternate narration of what happened in the two periods. Period I begins from the time when the protagonist starts to have ambition, continuing to the beginning of the other period, which is the middle point of the story—the protagonist’s“low point of fate”, and this point, as the beginning of the other period—period II, will extend to the real end. There are altogether ten subtitles in the novel, that is to say the novel is divided into ten chapters of varying lengths. Chapter 4 continues the story in Chapter 2, and the story develops in Chapter 6 and Chapter 8. The story in Chapter 1 and Chapter 3 continues in Chapter 5 and Chapter 7. The course of“the starting point extending to the middle point”has completed at the end of Chapter 8. Chapter 9 provides a solution to the conflict at the very beginning of the novel. Chapter 10 continues the narration in Chapter 9. On the one hand, it is the epilogue of the story of period II. On the other hand, it is the ending of the story in period I from the thematic perspective. If the stories of the two periods are compared to two sides of the mountain, the reader can not see the scenery of the other side. The roads paved by Jiang Zilong extend alternately and consistently on both sides of the mountain, leading to the peak—the end of story. Therefore, the author of the thesis calls it the“winding road type”structure.
2. Tense and Humorous Dramatic Scenes
Corresponding with the“winding road type”structure, the method of telling the story in dramatic scenes is adopted by Jiang Zilong in Symphony of Pots and Pan. Through this method, the novel has a compact structure with the hilarious and attracting scenes, and the literary style presents some features of the“avant-garde”novel. Jiang Zilong is good at refining the dramatic elements in the plot and designing the dramatic conflicts, and he brings into full play the expressive force of the dramatic scenes. The success of the dramatic scenes in Symphony of Pots and Pan can be attributed to the skillful application of the literary techniques, such as“unconventional”method, the method of“abrupt turning”, the method of“wits competition”, the method of“montage”and so on. The overall characteristic of dramatic scenes in the novel is the combination of tension and humor. The author excels in manipulating the atmosphere of his novel. There is tension in each scene without being rigid and the novel is decorated with humor freely without being frivolous. In pursuit of the dramatic scenes, there is probably a distortion of reality at one point of the novel. However, it is only a minor blemish in a thing of beauty.
3. The Various Figures in the Tide of Reform
The novel Symphony of Pots and Pans has exquisite structure and fresh style. The author focuses on the grand issue, without indulging in any depressed emotions or trivial feelings. The“grand issue”in the author’s view is the reform which was sweeping across China at that time. The most dazzling image in the reform situation presented by the author is the protagonist Niu Hong. It is in the period of the political and economic transition that Niu Hong, who has unique capability and special personality, becomes the pride of the era. Another impressive image in the novel is Niu Hua with the nickname“Intellect Niu”, who has the features of the times. Compared with the pure and great heroine or female model in the literary works of the previous period, she is a little bit mundane like a common person. Compared with the common and wretched small woman in the literature of subsequent period, she possesses more ideal features. The author shows us the true thinking and conversation of an ordinary citizen who likes reading and has conscience, making us feel as if we could hear her voice and see her in person. Zhong Jingshen is an outspoken person who is good at resolving conflicts. Basically, he tries to improve the reality positively on the base of his good understanding of reality. His excellence in resolving conflicts reflects his familiarity with the ways of the world and the interest disputes. His feature of being outspoken shows he is not limited by the reality and does not drift with the current. He has firm belief and ideal in his the heart. This is undoubtedly one of the most aggressive images of the reformists in that era. You Gang, the manager of the catering company, and Sun Lianxiang, the waitress in Chun Cheng Restaurant, who has“a face of class struggle”, are the anti-reform forces. They do not have a systematical theory to oppose the reform. The reason for You Gang to oppress Niu Hong’s reforming attempts is that his vested interests are threatened. Whereas the reasons for Sun Lian Xiang’s opposition to reform are only the tendency from the old time, and her belief that she could have prosperous future like a duck to water under the old system. The author successfully depicts the various figures in the tide of reform, presenting a colorful and vivid scene with the features of the era. This can be regarded as the greatest achievement of the novel Symphony of Pots and Pans.
3. The Film Symphony of Pots and Pans: the Anxious and Beautiful Youth Movement
1. The Prose Rhythm of Sound and Picture
The narration in the film Symphony of Pots and Pans does not have a definite focus or trend of the plot from the beginning to the end. Therefore, the creator does not adjust the narrative rhythm according to the order of priorities of the plot. Compared with telling a story, he is more indulged in editing those artistic footages with sense of beauty. The director finds pleasure in it, whether it is the daily life in the marketplace, the courtyard and the restaurant, or the scenery in the rain, at waterside and on the mountains, and even the opera performances unrelated to the plot. Such a structure is deliberately designed by the director. It is not appropriate for many scholars to classify the narrative method of the film into the“documentary”category. The narration in the film is uninhibited, with the sound and pictures being beautiful. It is better regarded as the prose rather than documentary. In addition, the director also takes into account the consistence in form while focusing on the feeling and atmosphere, in order to maintain the integrity of the of work, which was the popular technique of prose in the 1980s. Prose is also referred to as“aesthetic text”in the modern and contemporary Chinese literature. This film is undoubtedly an“aesthetic text”among the films.
2. Lost on the Road of Youth
Niu Hong in the film is a confused and anxious image. Even his“daring to think, to speak and to do”looks sometimes like recklessness rather than courage. By using beautiful sounds and pictures, the director depicts the youth which is a little bit rash, exciting, and also sad. In the novel Symphony of Pots and Pans, the conflict between You Gang and Niu Hong, which is also the core conflict in the novel, is the key point for the establishment of Niu Hong’image as the“vanguard of reform”. You Gang in the novel is arrogant, mediocre, self-dramatizing and even a little bit vicious. You Gang in he film does not present any abnormal or immoral features. He just tries to fulfill his duty as a leader in the company. His thought is not“brave”enough at most. You Gang in he film is a little bit muddleheaded, being concerned about face-saving, but he can be regarded as an amiable elder. Niu Hong, on the other hand, is a young man who has no sense of propriety. What the director of film cares about is the emotion of the youth. The conflict between Niu Hong and You Gang becomes the conflict between a red-blooded youngster and a stubborn elder. The two sides of the conflict are not divided into“justice- injustice”or“progressive - backward”parties. The presentation of Niu Hong’s anxious youth in the grand narrative frame of“reform”has many limitations after all. Therefore, Teng Wenji put forth effort to explore the narrative subject of“love”. In the movie, the audience can perceive Niu Hong’s callow“cruelty”in the relationship between Niu Hong and Mang Yue. This perception strongly reminds the audience of the fact that Niu Hong is an unbridled growing youngster and the story is about youth.
4. Conclusion: Exploring the Implications from the Novel to the Film
From the novel Symphony of Pots and Pans to the film Symphony of Pots and Pans, there are the fundamental differences in the narrative circumstances, images in the plot and the relationship of the figures between the two texts. Drastic changes in the form means the different implications of meaning, which can be proved by the two metaphors recurring in the two texts respectively. The metaphor in the novel Symphony of Pots and Pans is“flower”, which implies the rationalist optimism. We can achieve great success, so long as our society can get rid of the conventionality, give people a free development environment, and foster each person’s personality and ability within reasonable limits. When the author writes this novel, he sees the magnificent scene in his mind that the socialist China with the steady progress in the reform will become a“grand garden with all the flowers striving for elegance”in the near future. The metaphor in the film Symphony of Pots and Pans is“road”, which embodies the persevering outlook on life. The future is unknown and difficult to control. The human choices are actually blind. The only thing one can do is to stick to one’s own choice, trying to walk one’s way correctly. This is a deep tragic consciousness. The novel Symphony of Pots and Pans expresses the happiness of freedom, whereas the film Symphony of Pots and Pans reflects the dilemma of choice. The two works, with the same title but different interests, precisely indicate the growth of the diverse aesthetic tendencies of the writers and artists in Mainland China at that time.
蒋子龙的中篇小说《锅碗瓢盆交响曲》获得了热情、持久的关注,很多论者从诸角度赞扬了这部小说的成就。与之相比,滕文骥根据这部小说自编自导的同名电影则经受了更多的争议,不少人认为这部影片所表达的情绪、美学与“哲思”脱离了影片中的生活内容。批评者往往将该片与小说《锅碗瓢盆交响曲》进行对比,从而评定其优劣成败。他们的一个共同前提是:根据小说拍摄的电影归根结底应该传达给观众的是原著小说的“精华”或“根本”。这就电影艺术的范畴来说无疑是颇有合理性的,不过,从文本分析的角度来讲,小说和根据小说拍摄的电影应当看作是两个文本,电影对小说的指涉也应当进行互文性分析。本文的研究就是尝试以这样的方式重新梳理《锅碗瓢盆交响曲》从小说文本到电影文本的真正差异。笔者以为,这将增进我们对改革开放初期文艺的理解。
二、小说《锅碗瓢盆交响曲》:铿锵、清新的改革之声
1、“盘山路”式的独特结构
小说《锅碗瓢盆交响曲》的叙事结构是:两个时段发生的事情交替叙述,其中,时段Ⅰ从主人公萌生“雄心”的时候开始,延续到另一个时段的开端,即小说情节的中间点——主人公“命运的低潮”,而以此为开端的这个时段——时段Ⅱ会延续到小说情节的真正终点。整个小说里总共有十个小标题,即分成长短不一的十章,第四章接续第二章的故事,这个故事在第六章和第八章延续;第一章、第三章的故事则在第五章、第七章继续讲述。到第八章结束的时候,“起点如何推进到中间点”这个过程已经叙述完了,第九章则给了小说最开头的矛盾一个解决。最后的第十章顺承了第九章的叙事,一方面从时间来讲是时段Ⅱ故事的尾声,另一方面,从主题来讲,是时段Ⅰ故事的结局。如果把两个时段的故事比喻为山体的两面,读者在一面时看不到另一面的风景,蒋子龙铺就的道路则是连贯地交替行进于两面,旋绕着通向山顶——故事的结局。是故,笔者称其为“盘山路式”结构。
2、紧张而诙谐的戏剧性场面
与“盘山路”式的结构相应,蒋子龙在《锅碗瓢盆交响曲》中采用了以戏剧性场面讲述故事的手法。凭藉这样的手法,文体有些“先锋”的小说实现了结构紧凑,热闹好看。蒋子龙在情节中提炼戏剧性元素、构思戏剧性冲突的本领是很高的,发挥了戏剧性场面的表现力。《锅碗瓢盆交响曲》中戏剧性场面的成功,得力于“反常”法、“陡转”法、“斗智”法、“剪接”法等文学技法的娴熟运用。这本小说中戏剧性场面的总体特征是紧张与诙谐的结合。作者擅于掌控笔下的气氛,每一个场面都敢于渲染紧张,而又能不流于僵硬;随兴点缀诙谐,而又能不流于轻浮。小说中也有一处为了追求戏剧性场面而或许有些失真的地方,但不过是白璧微瑕。
3、改革风云中的众生相
小说《锅碗瓢盆交响曲》的结构是精致的,风格是爽利的,格调是清新的。作者自始至终不曾沉湎于任何低回的情绪或琐细的感受,惟从大处着眼。作者眼中的“大处”就是当时正席卷着中国大地的改革风云。在作者着力呈现的改革风云中,最闪光的形象当然是主人公牛宏。正是在政治经济转型期的风云际会中,牛宏这样一个有着独特能力和独特性格的人成了时代的骄子。小说里另一个极富时代气息,让人印象深刻的形象是外号“牛大学问”的牛华。与此前那个时代的文学里纯洁伟大的女英雄、女模范相比,她多了些市井气息;与此后那个时代的文学里微琐庸凡的女市民、小女人相比,她又多了些理想气息。作家呈现给我们的其实是那个时代一个爱读书、有良知的平民百姓很真实的思想与言谈,让我们觉得如闻其声,如见其人。钟警深这个人物敢于直言不讳、善于化解矛盾,从根本上说,他是在非常了解现实的基础上,积极改进现实。善于化解矛盾体现了他充分熟悉现实中的人情世故、利益纠葛。敢于直言不讳则体现了他并不囿于现实,更不随波逐流,内心有强大的理想信念。这无疑是那个时代一个最有闯劲的改革家形象。饮食公司经理游刚和春城饭店的服务员“阶级斗争脸”孙连香则是反改革的力量。他们反改革绝非有什么系统的理论依据。如果说游刚压制牛宏的改革举措还有自己的既得利益受到威胁的原因,孙连香却仅仅是因为旧时代的惯性,以及自觉自己在旧体制下能如鱼得水、有前途。作家成功描画了改革风云中生动的众生相,异彩纷呈,时代气息浓郁,这可以说是小说《锅碗瓢盆进行曲》最大的成就。
三、电影《锅碗瓢盆交响曲》:彷徨、唯美的青春乐章
1、散文化的声画节奏
电影《锅碗瓢盆交响曲》的叙事自始至终没有一个确定的情节重心或趋向,创作者自然也就不是以情节的轻重缓急来调整叙事节奏,与讲述某一个故事相比,他更耽于剪辑那些有意境、有情趣或有美感的段落,无论是市场、院落、饭店里的日常生活,还是雨中、水畔、山间的情景交融,甚至与情节毫无关系的京剧演出,都让导演乐在其中。这样的结构无疑是导演刻意为之。不少学者把本片的叙事方式归为“纪实性”,这不太恰当。本片的叙事是随性的,声画是唯美的,与其称为纪实性,不如称为散文化。另外,导演在倾心于感觉情调的同时也特别考虑了形式上的照应,以此维持作品基本的完整感,这也正是八十年代流行的散文手法。散文在现当代中国文学中又常常被称作“美文”,本片无疑是一篇电影中的“美文”。
2、青春路途上的彷徨
电影中的牛宏形象,是迷茫、彷徨的,连他的“敢想、敢说、敢做”有时也更像是鲁莽而不像是勇气。导演以唯美的声画,讲述了有些躁动、有些兴奋,也有些伤感的青春。在小说《锅碗瓢盆交响曲》中,构成核心冲突的游刚—牛宏之争,是牛宏“改革先锋”形象得以树立起来的基点和关键。游刚在小说里是傲慢的、庸庸碌碌的、装腔作势的,甚至是有点恶毒的。电影里的游刚却没有任何的不正常、不道德之处,只是尽了一个公司领导的本分,最多是在思想上不够“大胆”。在电影里,游刚充其量是一个有些“昏”,有些好面子,但不失慈和的长者,牛宏却常常成了不知深浅的小青年形象。影片创作者在意的是青春情绪的浸染,牛宏与游刚的矛盾在这里成了热血青年与固执长者的冲突,冲突双方并无“正义—非正义”或“进步—落后”之分。在“改革”这个宏大的叙事框架中表现牛宏的青春彷徨毕竟有太多的局限,因此滕文骥着力开拓了“爱情”的叙事领域。在电影里牛宏与满凤的关系中,观众感到了牛宏青涩的“残忍”,这感受强烈地提醒观众:牛宏首先是一个放肆成长着的青年,我们讲述的是一个青春故事。
四、结论:从小说到电影的意蕴探析
从小说《锅碗瓢盆交响曲》到电影《锅碗瓢盆交响曲》,两个文本的叙事语态、情节意象、人物关系都有着根本区别。形式的剧变背后是意蕴的歧异,从分别在两个文本中反复出现的两个比喻可以探析这一点。小说《锅碗瓢盆交响曲》中的一个比喻是“花”,这个比喻蕴含的是理性主义的乐观:只要我们的社会破除陈规陋习,给人们一个自由发展的环境,并且合理地呵护、培育每个人的个性和才能,人就会获得伟大的成就。作家写下这本小说,眼中似乎也看到了改革稳步推进的社会主义中国在不远的将来成为一个“群芳争妍的大花圃”之壮美景象。电影《锅碗瓢盆交响曲》中的一个比喻则是“路”。这个比喻浸润着一种坚忍的人生观:未来是未知的,也是人力难以掌控的,人的抉择其实都是盲目的,惟一能做的就是坚持自己的抉择,尽量走好自己所抉择的“路”。这是一种很深沉的悲剧意识。小说《锅碗瓢盆交响曲》抒发了自由的快乐,电影《锅碗瓢盆交响曲》表达了抉择的困惑,同名意趣的两部作品,恰恰反映了那个时候中国大陆文艺家多样的审美倾向正在悄然滋长。
1. Introduction
Jiang Zilong’s novel Symphony of Pots and Pans has gained fervent and enduring attention. Many critics have spoken highly of the achievements of this novel from various perspectives. Compared with that, the movie with the same title which is adapted and directed by Teng Wenji according to the novel is subjected to more controversies. Quite a few people think that the emotion, aesthetics and the“philosophical thinking”reflected by the film have deviated from the life in the film. The critics often compare the film with novel Symphony of Pots and Pans to assess the quality and success. They share a common premise that the film adaptation based on the fiction should ultimately convey“the essence”or“the fundamental”of the original novel to the audience. It is quite reasonable as far as the art of film is concerned. However, from the perspective of text analysis, the novel and the film adaptation based on the novel should be seen as two texts. The references of the film to the novel also need intertextual analysis. This thesis tries to comb the actual differences between the novel text of Symphony of Pots and Pans and the text of the film adaptation. The author believes this will enhance our understanding of the art and literature of the beginning stage of China’s reform and opening-up.
2. The Novel Symphony of Pots and Pans: Sonorous and Fresh Voice of the Reform
1. The Unique“Winding Road Type”Structure
The narrative structure of the novel Symphony of Pots and Pan is the alternate narration of what happened in the two periods. Period I begins from the time when the protagonist starts to have ambition, continuing to the beginning of the other period, which is the middle point of the story—the protagonist’s“low point of fate”, and this point, as the beginning of the other period—period II, will extend to the real end. There are altogether ten subtitles in the novel, that is to say the novel is divided into ten chapters of varying lengths. Chapter 4 continues the story in Chapter 2, and the story develops in Chapter 6 and Chapter 8. The story in Chapter 1 and Chapter 3 continues in Chapter 5 and Chapter 7. The course of“the starting point extending to the middle point”has completed at the end of Chapter 8. Chapter 9 provides a solution to the conflict at the very beginning of the novel. Chapter 10 continues the narration in Chapter 9. On the one hand, it is the epilogue of the story of period II. On the other hand, it is the ending of the story in period I from the thematic perspective. If the stories of the two periods are compared to two sides of the mountain, the reader can not see the scenery of the other side. The roads paved by Jiang Zilong extend alternately and consistently on both sides of the mountain, leading to the peak—the end of story. Therefore, the author of the thesis calls it the“winding road type”structure.
2. Tense and Humorous Dramatic Scenes
Corresponding with the“winding road type”structure, the method of telling the story in dramatic scenes is adopted by Jiang Zilong in Symphony of Pots and Pan. Through this method, the novel has a compact structure with the hilarious and attracting scenes, and the literary style presents some features of the“avant-garde”novel. Jiang Zilong is good at refining the dramatic elements in the plot and designing the dramatic conflicts, and he brings into full play the expressive force of the dramatic scenes. The success of the dramatic scenes in Symphony of Pots and Pan can be attributed to the skillful application of the literary techniques, such as“unconventional”method, the method of“abrupt turning”, the method of“wits competition”, the method of“montage”and so on. The overall characteristic of dramatic scenes in the novel is the combination of tension and humor. The author excels in manipulating the atmosphere of his novel. There is tension in each scene without being rigid and the novel is decorated with humor freely without being frivolous. In pursuit of the dramatic scenes, there is probably a distortion of reality at one point of the novel. However, it is only a minor blemish in a thing of beauty.
3. The Various Figures in the Tide of Reform
The novel Symphony of Pots and Pans has exquisite structure and fresh style. The author focuses on the grand issue, without indulging in any depressed emotions or trivial feelings. The“grand issue”in the author’s view is the reform which was sweeping across China at that time. The most dazzling image in the reform situation presented by the author is the protagonist Niu Hong. It is in the period of the political and economic transition that Niu Hong, who has unique capability and special personality, becomes the pride of the era. Another impressive image in the novel is Niu Hua with the nickname“Intellect Niu”, who has the features of the times. Compared with the pure and great heroine or female model in the literary works of the previous period, she is a little bit mundane like a common person. Compared with the common and wretched small woman in the literature of subsequent period, she possesses more ideal features. The author shows us the true thinking and conversation of an ordinary citizen who likes reading and has conscience, making us feel as if we could hear her voice and see her in person. Zhong Jingshen is an outspoken person who is good at resolving conflicts. Basically, he tries to improve the reality positively on the base of his good understanding of reality. His excellence in resolving conflicts reflects his familiarity with the ways of the world and the interest disputes. His feature of being outspoken shows he is not limited by the reality and does not drift with the current. He has firm belief and ideal in his the heart. This is undoubtedly one of the most aggressive images of the reformists in that era. You Gang, the manager of the catering company, and Sun Lianxiang, the waitress in Chun Cheng Restaurant, who has“a face of class struggle”, are the anti-reform forces. They do not have a systematical theory to oppose the reform. The reason for You Gang to oppress Niu Hong’s reforming attempts is that his vested interests are threatened. Whereas the reasons for Sun Lian Xiang’s opposition to reform are only the tendency from the old time, and her belief that she could have prosperous future like a duck to water under the old system. The author successfully depicts the various figures in the tide of reform, presenting a colorful and vivid scene with the features of the era. This can be regarded as the greatest achievement of the novel Symphony of Pots and Pans.
3. The Film Symphony of Pots and Pans: the Anxious and Beautiful Youth Movement
1. The Prose Rhythm of Sound and Picture
The narration in the film Symphony of Pots and Pans does not have a definite focus or trend of the plot from the beginning to the end. Therefore, the creator does not adjust the narrative rhythm according to the order of priorities of the plot. Compared with telling a story, he is more indulged in editing those artistic footages with sense of beauty. The director finds pleasure in it, whether it is the daily life in the marketplace, the courtyard and the restaurant, or the scenery in the rain, at waterside and on the mountains, and even the opera performances unrelated to the plot. Such a structure is deliberately designed by the director. It is not appropriate for many scholars to classify the narrative method of the film into the“documentary”category. The narration in the film is uninhibited, with the sound and pictures being beautiful. It is better regarded as the prose rather than documentary. In addition, the director also takes into account the consistence in form while focusing on the feeling and atmosphere, in order to maintain the integrity of the of work, which was the popular technique of prose in the 1980s. Prose is also referred to as“aesthetic text”in the modern and contemporary Chinese literature. This film is undoubtedly an“aesthetic text”among the films.
2. Lost on the Road of Youth
Niu Hong in the film is a confused and anxious image. Even his“daring to think, to speak and to do”looks sometimes like recklessness rather than courage. By using beautiful sounds and pictures, the director depicts the youth which is a little bit rash, exciting, and also sad. In the novel Symphony of Pots and Pans, the conflict between You Gang and Niu Hong, which is also the core conflict in the novel, is the key point for the establishment of Niu Hong’image as the“vanguard of reform”. You Gang in the novel is arrogant, mediocre, self-dramatizing and even a little bit vicious. You Gang in he film does not present any abnormal or immoral features. He just tries to fulfill his duty as a leader in the company. His thought is not“brave”enough at most. You Gang in he film is a little bit muddleheaded, being concerned about face-saving, but he can be regarded as an amiable elder. Niu Hong, on the other hand, is a young man who has no sense of propriety. What the director of film cares about is the emotion of the youth. The conflict between Niu Hong and You Gang becomes the conflict between a red-blooded youngster and a stubborn elder. The two sides of the conflict are not divided into“justice- injustice”or“progressive - backward”parties. The presentation of Niu Hong’s anxious youth in the grand narrative frame of“reform”has many limitations after all. Therefore, Teng Wenji put forth effort to explore the narrative subject of“love”. In the movie, the audience can perceive Niu Hong’s callow“cruelty”in the relationship between Niu Hong and Mang Yue. This perception strongly reminds the audience of the fact that Niu Hong is an unbridled growing youngster and the story is about youth.
4. Conclusion: Exploring the Implications from the Novel to the Film
From the novel Symphony of Pots and Pans to the film Symphony of Pots and Pans, there are the fundamental differences in the narrative circumstances, images in the plot and the relationship of the figures between the two texts. Drastic changes in the form means the different implications of meaning, which can be proved by the two metaphors recurring in the two texts respectively. The metaphor in the novel Symphony of Pots and Pans is“flower”, which implies the rationalist optimism. We can achieve great success, so long as our society can get rid of the conventionality, give people a free development environment, and foster each person’s personality and ability within reasonable limits. When the author writes this novel, he sees the magnificent scene in his mind that the socialist China with the steady progress in the reform will become a“grand garden with all the flowers striving for elegance”in the near future. The metaphor in the film Symphony of Pots and Pans is“road”, which embodies the persevering outlook on life. The future is unknown and difficult to control. The human choices are actually blind. The only thing one can do is to stick to one’s own choice, trying to walk one’s way correctly. This is a deep tragic consciousness. The novel Symphony of Pots and Pans expresses the happiness of freedom, whereas the film Symphony of Pots and Pans reflects the dilemma of choice. The two works, with the same title but different interests, precisely indicate the growth of the diverse aesthetic tendencies of the writers and artists in Mainland China at that time.
引文
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