文学经典与电影改编:从三个潜在文本看《蝴蝶君》的文化诉求  

Literary Classics and Film Adaptation: the Cultural Appeals of M. Butterfly from Three Potential Texts

作　　者：张建军 ZHANG Jianjun(College of Humanities,Shangluo University,Shangluo 726000,China)

机构地区：[1]商洛学院人文学院,陕西商洛726000

出　　处：《华北水利水电大学学报（社会科学版）》2018年第6期138-145,共8页Journal of North China University of Water Resources and Electric Power(Social Science Edition)

基　　金：2012年度陕西省哲学社会科学基金规划项目"电影改编:文学经典的现代性批评"(12J131)

摘　　要：《蝴蝶君》是黄哲伦对西方社会普遍存在的"东方主义"模式与"陈词滥调"思维进行反讽,其文本之后的话剧舞台化及电影改编,意在把种族歧视与身份认同矛盾背后的文化冲突提炼出来,阐释给社会大众。艺术改编中的想象与真实,往往成为人们关注的焦点。黄哲伦以京剧旦角男扮女装的男性身份,回应了东方主义模式中"蝴蝶夫人"的戏剧化期望;"蝴蝶君"所代表的文化意象,不只是性别身份,更是文化冲突展现出的真实存在。不管它指向工业文明对人性的戕害,还是民族文化的深层记忆,东西方戏剧中的"男扮女装"与"女扮男装",都是对这一文化问题的想象浓缩与真实扩大。戏剧与影视是从现代性与大众化角度,直抵文化冲突背后相通的文化诉求。M.Butterfly is David Henry Hwang’s irony of the“orientalism”mode and“cliches”thinking that prevails in Western society.The drama and film adaptation after the text are intended to refine the cultural conflicts behind racial discrimination and identity contradictions and explain them to the public.Imagination and reality in artistic adaptation often become the focus of attention.In David Henry Hwang’s work,he waved the story that a man dressed as a woman in Beijing Opera in order to satisfy people’s dramatic expectation of“Madame Butterfly”in the Orientalist model;the cultural image represented by“M.Butterfly”is not only the gender identity,but also the real existence of cultural conflicts.Whether it points to the harm of industrial civilization to human nature,or the deep memory of national culture,the“men dressed as women”and“women dressed as men”in Western and Eastern dramas are both concentrated imagination and real expansion of this cultural issue.Drama and film and television are cultural appeals that are directly connected to cultural conflicts from the perspective of modernity and popularization.

关 键 词：《蝴蝶君》 蝴蝶夫人 想象与真实 男扮女装 文化诉求 

分 类 号：J904[艺术—电影电视艺术]