中戏德演:《琵琶记》德语演出形态变迁考论  

Chinese Xiqu Performed in German:A Research on the Changes of German Performances of The Lute

作　　者：李霖 吕方格 LI Lin;LV Fangge

机构地区：[1]青岛大学文学与新闻传播学院 [2]山东大学艺术学院

出　　处：《戏剧艺术》2023年第3期168-176,共9页Theatre Arts

基　　金：教育部人文社会科学研究青年基金项目“昆曲经典剧目德语演出及其欧洲传播研究(1930—1937年)”(22YJC760033)的阶段性成果;青岛市社科规划项目“中国古典戏曲德译本在青传播研究(1930—1937)”(QDSKL2101083)的研究成果。

摘　　要：1930—1937年间德国汉学家洪涛生将其翻译的《琵琶记》多次搬上舞台,并带回欧洲。其间,德语《琵琶记》在演出形态上不断发生变化,国内外历次演出史料揭示了其从最初的“话剧”形态,一步步向“昆曲”演出形态靠拢,并最终呈现出德语念白配以昆曲音舞表演的“中戏德演”形态。这一发生在20世纪初中西戏剧交流史上的独特现象不仅具有戏曲本体研究意义,更为当下中国戏曲海外传播提供了丰富的历史启示。From 1930 to 1937,German sinologist Vincenz Hundhausen put his translated The Lute on the stage many times and brought it back to Europe.During this period,the performance form of the German The Lute has been constantly changing.Historical data of all the performances at home and abroad have revealed that the performance has gradually departed from its original form of“spoken drama”,moving closer to the form of“Kunqu”,and finally took on the form of“Chinese Xiqu performed in German”,that is,speaking and singing in German with the music and dance in the style of Kunqu.Systematically sorting out and discussing this unique phenomenon in the history of Chinese and Western theatre exchanges at the beginning of the 20th century is not only significant for the study of Xiqu itself,but also provides a rich historical inspiration for the current overseas spreading of Chinese Xiqu.

关 键 词：昆曲 琵琶记 洪涛生 演出形态 戏曲海外传播 

分 类 号：J80[艺术—戏剧戏曲]