论人艺版话剧和电影《赵氏孤儿》对传统寓意的改写

Adaptation of Traditional Meaning in Modern Drama and Film of "Chinese Orphan"

本文以林兆华导演的话剧《赵氏孤儿》和陈凯歌导演的同名电影为研究对象,分析了时代精神、个体差异与经典重写的关系。本文认为,两个改编本都摒弃了传统故事中屠赵之争乃纯粹的忠奸斗争之说,展现了政治斗争的复杂性,具有相当的思想深度和价值超越。两剧的缺憾在于:话剧赵氏孤儿不复仇的结局是编导对传统的忠孝观念和人生价值反思的结果,但以赵孤的冷酷自私和懵懂无知作为不复仇的原因之一使编导未能获得其希冀的改编效果;电影成功演绎了枭雄屠岸贾的复杂人性,但过分渲染屠岸贾对赵孤的父爱无形中改写了赵孤复仇的"语境",导致编导意图与观众感受的错位。以现代观念诠释或颠覆经典是一项涉及不同时代社会价值取向、政治文化等要素的复杂工程,这两部剧的经验有益于探索出反映时代脉动的"适度改编"的新路。

Taking modern drama ＂ Chinese Orphan＂ directed by Lin Zhaohua and film ＂ Sacrifice＂ directed by Chen Kaige as the research objects, in this paper we analyze the relation among time spirit, individual difference, and clas- sic rewriting. These two adaptations are profound in thought and make transcendence in value. However, there are still deficiencies. For instance, modetta drama ＂ Chinese Orphan＂ does not attain the expected effect for it takes the selfishness and ignorance as the reason for orphanb not taking revenge. The film ＂ Sacrifice＂ rewrites the context of or- phanb revenge for it excessively describes Tu Angub fatherhood towards the orphan. We could see that it indeed is a complex project to explain or subvert classic with modem conception. The two adaptations help us to explore a new way of ＂ moderate adaption＂.