悲剧精神与中国文化的当代重构——莎士比亚戏剧《理查三世》跨文化中的诗化意象  

Spatial Reconstruction of Poetic Image:Cross-cultural Writing of Shakespeare's Play Richard Ⅲ

作　　者：李伟民[1,2,3,4] Li Weimin

机构地区：[1]四川外国语大学研究生院 [2]中国外国文学学会莎士比亚研究分会 [3]国际莎学通讯委员会 [4]《中国莎士比亚研究》

出　　处：《中国莎士比亚研究》2021年第1期60-71,F0002,共13页

基　　金：国家社会科学基金项目“莎士比亚戏剧在中国语境中的接受与流变(项目编号:12XWW005)”阶段性成果。

摘　　要：由中国国家话剧院王晓鹰导演的莎士比亚戏剧《理查三世》在展现阴谋、杀戮、野心、篡权、邪恶与欲望的过程中,以展现《理查三世》的悲剧精神为宗旨,以象征意蕴和情感的“诗化意象”演绎人物的悲剧命运。其叙事采用充满中国文化元素的艺术表达形式,既运用中国戏曲、中国服饰、中国面具、中国图腾、中国书法、中国音乐建构了整个戏剧的故事空间,又创造性地在原作故事、情节、人物、心理叙事中植人了中国文化元素。《理查三世》是一部重塑经典、成功阐释莎士比亚原作悲剧精神,但又与“戏曲莎剧”和借用戏曲表现形式的“话剧莎剧”有明显区别的莎剧。该剧在对故事空间予以变更、变形、扩充和压缩中体现出经典所具有的思想深度与丰富内涵,同时也在话语空间叙事中揭示出人物复杂的内心世界和性格特征。Richard Ⅲ is a Shakespeare’s play directed by Wang Xiaoyin from the National Theatre of China.Aiming at presenting the original’s tragic spirit,this play embodies the characters’tragedy of fate by“poetic image”that symbolizes implication and affection while depicting the conspiracy,killing,ambition,usurpation,evil and desire herein.The unfolding of the play goes with such media of artistic expression with rich Chinese culture as Chinese opera,costumes,masks,totems and calligraphy as well as Chinese music.It also creatively implants Chinese cultural references in the story itself including the plot,characters and psychological narration.Richard Ⅲ is a re-creation of the classic which illuminates the tragic spirit in Shakespeare’s original play,and also clearly differentiates itself from other Shakespeare’s plays in the form of opera or drama.The play reflects the classic's depth of thought and richness of content with some change,expansion and condensation of the original,and reveals the complex inner world and personalities of characters in the play via narrative discourse space as well.

关 键 词：《理查三世》 莎士比亚 空间 叙事 中国 

分 类 号：I20[文学—中国文学]