戏剧符号学视阈下“莎戏曲”的自觉过程--以《无事生非》《奇债情缘》《惊魂记》为样本  

The Conscious Process of Sally Opera from the Perspective of Dramatic Semiotics--Take Make Trouble Out of Nothing,Love's debt and Psycho for Example

作　　者：孟威[1] Meng Wei(Art College of Anhui University, Hefei 230601)

机构地区：[1]安徽大学,合肥230601

出　　处：《新疆艺术学院学报》2022年第1期95-101,共7页Journal of Xinjiang Arts University

基　　金：国家社科基金艺术学重大项目《新中国成立70周年中国戏曲史(安徽卷)》(18ZD08)阶段性成果。

摘　　要：西剧东渐历史悠久,莎士比亚作品更是中国舞台的常客。本文选取《无事生非》《奇债情缘》《惊魂记》三部优秀的改编作品,以文本与舞台两个向度出发,不仅从共通性考察三部作品改编成功背后的艺术价值,更进一步从历时性观照中国戏曲改编西方经典作品的自觉过程,梳理“莎戏曲”的美学意义。而戏剧符号学之于中国戏曲在理论上具有共通性和延展性,为东西方戏剧在理论与实践交流层面上提供了阐释的参照。Western opera has a long history in the East,and Shakespeare's works are a frequent guest on the Chinese stage.This article selects three excellent adaptation works--Make Trouble Out of Nothing,Love's debt and Psycho,with text and stage two dimensions,not only on the back of a convergence study three films adapted from the successful art value,further from the diachronic view consciousness of Chinese opera adaptation of western classic process,comb"drama"aesthetic meaning.The semiotics of drama has universality and extensibility in theory and is a beneficial attempt of eastern and western drama on the level of theoretical and practical exchange.

关 键 词：跨文化戏剧 戏剧符号学 莎士比亚 

分 类 号：J805[艺术—戏剧戏曲]