传统戏曲的跨媒介改编及其结构艺术--以《白蛇传》为焦点  

Cross-media Adaptation of Traditional Opera and Structural Art--Focusing on The Legend of White Snake

作　　者：宁辰[1] 李勇强[2] NING Chen;LI Yongqiang

机构地区：[1]浙江师范大学行知学院 [2]浙江师范大学文化创意与传播学院,金华321000

出　　处：《浙江艺术职业学院学报》2019年第4期20-26,共7页Journal of Zhejiang Vocational Academy of Art

基　　金：浙江师范大学研究生重点教改项目“媒介实践与理论创新”(项目编号:Y201616)的成果。

摘　　要：近现代以来,"白蛇故事"以京剧、地方戏、话剧、电影、电视剧等诸多样式纷纷呈现。1952年田汉创作的京剧《白蛇传》与1992年电视剧《新白娘子传奇》得到了最为广众的收视与欣赏。两者从广义上都属于线性叙事结构,京剧以场面及场面的连接来推衍情节,而电视剧则用屏幕的声画艺术来表达。然而,电视剧与戏曲在情节线布局上也有差异,传统戏曲一般从动作表现的宽度展开,电视剧则从情节的长度延伸。戏曲重视在情节长度上"压缩"、强调集中整饬,电视剧则追求情节的铺展与延续。正是由于两者叙事结构的这些差异,在将同一故事演绎于舞台与屏幕时,对其原有情节的择取与安排也是不尽相同的。During modern times,the story of White Snake has been presented in many styles,such as Beijing opera,local opera,drama,film,TV play,etc.The dramatist Tian Han’s The Legend of White Snake of Beijing Opera in 1952 and television drama The Legend of White Snake in 1992 had attracted a lot of audience.Both of them belong to linear narrative structure in a broad sense.Beijing Opera deduces the plot by the connection of scenes and scenes,while television drama expresses it through visual and sound art of screen.However,there are also differences in the plot line between television dramas and traditional operas.Traditional operas generally start from the width of action performance,while television dramas start from the length of plot narration.Drama emphasizes compression and con⁃centration in plot length,while TV drama pursues spreading and continuation of plot.Because of these differences in narrative structure,when the same story is performed on the stage and screen,selection and arrangement about the o⁃riginal plot is not the same.

关 键 词：《白蛇传》 跨媒介改编 结构艺术 

分 类 号：J80-05[艺术—戏剧戏曲]