对话与重塑——论东北戏曲对于莎剧的改编  

Dialogue and Reshaping:On the Adaptation of Northeast Opera to Shakespeare’s Drama

作　　者：赫亚红[1] 戚文君 HE Ya-hong;QIWen-jun(School of Liberal Arts,Jilin Normal University,Siping 136000,China)

机构地区：[1]吉林师范大学文学院,吉林四平136000

出　　处：《白城师范学院学报》2022年第6期48-54,共7页Journal of Baicheng Normal University

基　　金：吉林省社会科学基金项目“接受美学视域下的二人转研究”(2020J05)。

摘　　要：东北戏曲承接远古圣婚仪式而来,有着自己的原型和变形史。跨文化戏剧的出现是新时代对传统东北戏曲的一次翻新和考验。戏剧改编经历了从解构到再结构的过程,既是对原剧本中狂欢化和游戏内核的继承与延续,又是内容与形式上的反叛与再阐释。双重文化在同一个文本之间撕扯融合,呈现出文明与土野的交互。The Northeast opera,which has its own prototype and deformation history,comes from the ancient holy marriage ceremony.The emergence of cross-cultural drama is a renovation and test of traditional Northeast opera in the new era.Northeast opera adaptation has experienced a process from deconstruction to re-structure,which is not only the inheritance and continuation of the carnival and the core of the game in the original script,but also the rebellion and re-interpretation of the content and form.The dual culture is torn and fused between the same text,showing the interaction between civilization and inelegance.

关 键 词：东北戏曲 莎剧 《罗密欧与朱丽叶》 《温莎的风流娘儿们》 

分 类 号：J825[艺术—戏剧戏曲]