从《欲望城国》和《血手记》看戏曲跨文化改编

Problems of Intercultural Theatrical Experimentation: the Cases of Chinese Operatic Adaptations of Macbeth

“戏曲现代化”是近年来戏曲改编的潮流之一。剧作家或将老戏新编 ,务使剧作思想内涵具有现代精神 ;或者自创新局 ,在内容风格各方面力求突破。为了扩大戏曲题材 ,“跨文化改编”成为编剧者另辟蹊径的方式之一。本文试图对同样改编自莎士比亚名剧《麦克白》的《欲望城国》与《血手记》做一比较 ,一探传统戏曲改编外国著作时常用的手法 ,并藉以分析其艺术价值与不足之处 ,期能进一步管窥跨文化改编时可能面临的种种问题。

This paper conducts a comparative study of Kingdom of Desire and Story of Blood-Smeared Hands, two Chinese operatic adaptations of Macbeth, one from Taiwan and the other from the Mainland, to explore issues and problems of intercultural theatrical endeavors with special reference to Chinese re-invention of Western dramatic masterpieces.