元杂剧曲白相间的艺术体制在海外传播中的表现与影响——以《赵氏孤儿》为例  

The Performance and Influence of the Yuan Drama's Art Structure in the Overseas Dissemination——In the“Orphan”as Example

作　　者：卢翮[1] 

机构地区：[1]中国传媒大学艺术研究院,北京100024

出　　处：《青海师范大学学报（哲学社会科学版）》2017年第2期97-101,共5页Journal of Qinghai Normal University(Philosophy and Social Sciences Edition)

摘　　要：18世纪《赵氏孤儿》的法文节译本在欧洲产生了巨大影响。译者马若瑟"删曲留白"的翻译策略,反映出跨文化背景下,元杂剧曲词传播不便,宾白却更易被接受的情况。元杂剧曲白相生的艺术结构有其特定的生成和传播环境,曲词部分在本土有极高的审美价值,为大众所接受。中西方戏剧和审美原则的差异,使我们意识到妥善地理解和处理曲词、宾白等戏曲形制的问题对戏曲的海外传播实践具有重要意义。The ＂orphan＂ of the French partly translated edition has great influence in 18th-century Europe. In the cross-cultural background,Joseph Maria de Premare adopted the strategy that thraslating spoken parts but no song lyrics, because of the translation of Yuan Dynasty songs is more complicated than dialogues. The aritistic structure of Yuan zaju,alternating spoken parts and librettos, has its unique environment of forming and dissemination. The librettos has extemely high appreciation value in chinese traditional aesthetics, and widely accepted in native. The differences of aesthetic principle in chinese traditional opera and western drama stimulates us to rethink the significance of grasping the essential characteristic of Drama Arts in the overseas transmission of chinese opera.

关 键 词：《赵氏孤儿》 海外传播 删曲留白 元杂剧 

分 类 号：I206.24[文学—中国文学]