莎士比亚喜剧的跨文化演绎——京剧《温莎的风流娘儿们》与“福氏喜剧”精神  

On Peking Opera of The Merry Wives of Windsor

作　　者：李伟民[1,2] LI Wei-min

机构地区：[1]浙江越秀外国语学院,浙江绍兴312000 [2]四川外国语大学研究生院,重庆400031

出　　处：《解放军外国语学院学报》2020年第5期55-61,159,共8页Journal of PLA University of Foreign Languages

基　　金：国家社会科学基金项目“莎士比亚在中国语境中的接受与流变研究”(12XWW482)。

摘　　要：京剧《温莎的风流娘儿们》的"跨界"对莎士比亚原作进行了适合中国戏曲表达方式的改写。该剧在"移步与换形"中既以彰显原作的喜剧精神为旨归,又以鲜明的京剧表现手段成功地在莎士比亚和中国京剧之间寻找融通之道;既在表演中利用京剧的唱腔、程式成功塑造出原作中人物的性格,又充分利用假定性原则和戏曲写意性的呈现方式,在轻松、幽默、调侃、戏谑的喜剧空间中,让莎剧与京剧通过跨文化的互渐、互识、互释、互文与互彰释放出各自的审美艺术张力,彰显了原作蕴涵的"福氏喜剧"的深刻内涵。Peking Opera of The Merry Wives of Windsor is adapted from Shakespeare’s original work to match the expression techniques of Chinese opera.In"identifying forms with feelings",this play focuses not only on original work’s comedic spirit,but also on finding a syncretic way between Shakespeare and Peking Opera by means of distinct opera performance.Meanwhile,it succeeds in shaping original character’s personality by utilizing the singing and patterns of Peking Opera during the process of performing,as well as fully taking advantage of the skills of presumptive principle and freehand brushwork to release Shakespeare and Peking Opera’s aesthetic artistic tension through cross-cultural influence,acquaintance,interpretation,intertextuality and highlighting in a relaxed,humorous,laughing,joking comic space,which expresses the profound meaning of"Fu’s comedy"that lies in original work.

关 键 词：莎士比亚 京剧 温莎的风流娘儿们 福氏喜剧 

分 类 号：I516.073[文学—其他各国文学]