昆曲:天然的叙事剧——《十五贯》在德国的跨文化改编与接受  

Kunqu Opera:Innate Epic Theatre The Cross-Cultural Adaptation and Reception of Shi Wu Guan in Germany

作　　者：陈靖泽 

机构地区：[1]德国慕尼黑大学德语语言文学研究院

出　　处：《中国艺术》2025年第1期114-121,共8页Chinese Art

摘　　要：20世纪50年代,昆曲《十五贯》在中国的成功演出不仅体现了“百花齐放,推陈出新”的文化政策理念,还显著推动了昆曲的复兴。在此基础上,该剧通过联邦德国反法西斯剧作家君特·魏森伯恩的改编,成功登上德国的戏剧舞台,焕发出新的生命力。魏森伯恩以德国叙事剧理论为指导,深入探索昆曲的戏剧化路径,通过调整情节和舞台表现形式,使其更贴合欧洲观众的审美需求,同时凸显了戏剧的道德教化功能。基于此,本文分析了魏森伯恩如何巧妙地将叙事剧元素融入昆曲的创作,并进一步探讨昆曲与布莱希特叙事剧理论之间的内在联系。In the 1950s,the successful performance of the Kunqu opera Shi Wu Guan in China not only embodied the cultural policy principles of“letting a hundred flowers bloom and discarding the old for the new”,but also significantly contributed to the revival of Kunqu.Building on this foundation,the play was adapted by Günter Weisenborn,a Federal German anti-fascist dramatist,and brought on German theater stages to achieve renewed vitality.Guided by German epic theater theory,Weisenborn explored pathways to dramatize Kunqu,adapting its plot and stage presentation to better align with the aesthetic preferences of European audiences while emphasizing the moral functions of theater.This paper analyzes how Weisenborn skillfully integrated elements of epic theater into Kunqu and further examines the intrinsic connections between Kunqu and Brechtian epic theater theory.

关 键 词：《十五贯》 魏森伯恩 昆曲改编 叙事剧 海外传播 

分 类 号：J82[艺术—戏剧戏曲]