改编与重塑:跨文化戏曲中的女性人物及其意义  

Adaptation and Remodeling:Female Characters and Their Significance in Intercultural Opera

作　　者：陈戎女[1] Chen Rongny

机构地区：[1]北京语言大学

出　　处：《戏剧（中央戏剧学院学报）》2021年第5期55-68,共14页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金重大项目“中外戏剧经典的跨文化阐释与传播研究”(项目编号:20&ZD283)的阶段性研究成果;中央高校基本科研业务费专项资金北京语言大学梧桐创新平台项目(项目编号:19PT06)。

摘　　要：本文以跨文化戏剧理论和实践的研究视角,分析唯一一部存世的古希腊三联剧《俄瑞斯忒亚》改编为中国评剧《城邦恩仇》的跨文化戏曲现象。用中国传统戏曲改编古希腊悲剧,面临从古代到现代、从西方到东方的双重移植难度。《城邦恩仇》中的王后柯绿黛在改编后既是强悍果决杀夫弑君的王后,又增加了比希腊原剧人物更复杂立体的情感层次,从而丰富了中国戏曲中处于权力上层却仍不失母性的王族女性形象。《城邦恩仇》的人物改编策略博采中希戏剧之长,尤其融合了戏曲以情动人的"情本体论"观念。跨文化戏曲对西方戏剧经典和中国戏曲具有双向的价值和意义,丰富了中西的人物表演美学和发展空间。From the perspective of the theory and practice of intercultural theater,this article explores Ping opera Legend of Two Cities,the adaptation from the only extant ancient Greek trilogy Oresteia.The adaptation of ancient Greek tragedies in the form of traditional Chinese operas faces the dual difficulties which are transformations from ancient to modern times,and from the West to the East as well.The queen Clytemnestra in Legend of Two Cities is not only a termagant murdering her husband,but also a female figure with much complex emotional performances than the original.As a result,her appearance has enriched the images of royal females in the upper strata of power without losing their motherhood in Chinese operas.The adaptation of Legend of Two Cities has widely absorbed the strengths of Chinese and Greek theater with special focus on incorporating the operatic concept of"emotional ontology".Intercultural operas have dual-orientational value and significance for both western theatrical classics and Chinese operas,that is to enrich the performing aesthetics of characters at stage abroad and at home.

关 键 词：跨文化戏曲 古希腊悲剧 《俄瑞斯忒亚》 评剧《城邦恩仇》 

分 类 号：J82[艺术—戏剧戏曲]