忠义的“祛魅”——《赵氏孤儿》程婴形象的现代转型研究

The Disenchantment of Loyalty and Righteousness—A Study on the Modern Transformation of Cheng Ying’s Image in The Orphan of Zhao

摘要: 马克斯·韦伯指出，现代性的展开是一个不断“祛魅”的过程。在现代理性精神与人文主义的审视下，经典戏曲《赵氏孤儿》中程婴不断地被改编，赋予当下新时代的内涵。《史记》中为“私义”赴死的义士、元杂剧中在“家国大义”与“父子亲情”间撕裂的悲剧英雄，再到陈凯歌电影中的充满彷徨“小人物”，其身上神圣的“忠义”光环被不断“祛魅”，回归为复杂人性的呈现。研究发现，将人物请回“人间”的“祛魅”同时，也面临消解崇高感的风险，故部分当代改编如音乐剧亦尝试在人性基石上进行审慎的“复魅”。经典人物的形象转型不仅生动呈现了传统符号与现代意识的对话，更为推动中华优秀传统文化在当代的创造性转化、创新性发展提供了具有示范意义的案例。

Abstract: Max Weber posited that the unfolding of modernity constitutes an ongoing process of “disenchantment”. Under the lens of modern rational spirit and humanism, Cheng Ying—a figure in the classic traditional Chinese opera The Orphan of Zhao—has been repeatedly reimagined to embody new connotations aligned with the contemporary era. From the righteous martyr who sacrificed himself for “personal righteousness” in Records of the Grand Historian (Shiji), to the tragic hero torn between “national justice” and “father-son bond” in Yuan-dynasty zaju (a traditional Chinese dramatic form), and further to the indecisive “ordinary individual” in Chen Kaige’s film adaptation, the sacred aura of “loyalty and righteousness” enshrouding Cheng Ying has undergone continuous “disenchantment”, shifting toward a portrayal of complex human nature. This study reveals that while such “disenchantment” reintegrates the character into the realm of ordinary humanity, it entails the risk of eroding the original figure’s inherent sense of sublimity. In response, certain contemporary adaptations—such as musical theater renditions—have endeavored to pursue a cautious “reenchantment” grounded in the foundation of human nature. The transformative evolution of this classic character not only vividly exemplifies the dialogue between traditional cultural symbols and modern consciousness, but also serves as a paradigmatic case for advancing the creative transformation and innovative development of China’s excellent traditional culture.