舞台上的《俄狄浦斯王》与跨文化京剧编演  

Oedipus the King on the Stage and Intercultural Peking Operatic Adaptation and Performance

作　　者：陈戎女[1] CHEN Rongnyu

机构地区：[1]北京语言大学文学院,北京100083

出　　处：《海峡人文学刊》2022年第3期93-100,109,158,共10页Journal of Humanities Across the Straits

基　　金：国家社会科学基金重大项目“中外戏剧经典的跨文化阐释与传播”(20&ZD283)阶段性研究成果。

摘　　要：古希腊悲剧《俄狄浦斯王》,因其无法替代的经典性,在世界范围内有众多改编和演出,品质优劣不等。20世纪以来,与西方各种实验性的现代改编相比,东方导演对《俄狄浦斯王》的现代改编,往往有意识地编入东方戏剧的结构和人物元素,形成东西方戏剧的混融。这篇论文基于《俄狄浦斯王》被中国内外改编演出的背景,对跨文化京剧《王者俄狄》在主题、结构和人物改编方面的本土化特点以及对观众产生的效果进行了研究。由此,这篇论文进一步反思戏曲的跨文化编演中,两种不同的戏剧体系、迥异的戏剧思维如何协调与中和,并为解决跨文化戏曲“重表演轻思想、重形式轻内容”的难题,推进戏曲担当重大思想命题的表现载体,尝试性地提出解决之道。The ancient Greek tragedy Oedipus the King, because of its irreplaceability and classicality, has been adapted and performed many times at home and abroad, and the quality of those productions varies. Since the 20th century, compared with the various experimental modern adaptive productions in the West, the modern adaptations of Oedipus the King by eastern directors have often consciously interwoven the structure and character elements of eastern theatres, forming a hybridization of eastern and western theatres. Based on domestic and international adaptations of this Greek play, this article analyzes the indigenized features in terms of theme, structure and character adaptation of the intercultural Peking Opera King Oedi and its effect on the audiences. Moreover, the article further reflects on how to coordinate the two different theatric systems and thoughts, and to solve the difficulties of “emphasizing performance over theme, form over content” in intercultural theatre. Aiming at promoting Chinese theatre as the expressive medium of major ideologies, this article is tentatively proposing some solutions.

关 键 词：《俄狄浦斯王》 跨文化京剧 《王者俄狄》 改编 

分 类 号：J905[艺术—电影电视艺术]