论斯托帕在《罗森克兰茨与吉尔德斯特恩已死》中对哈姆雷特形象的另类重塑

On Stoppard's Peculiar Reshaping of Hamlet in Rosencrantz and Guildenstern Are Dead

在《罗森克兰茨与吉尔德斯特恩已死》中,英国剧作家斯托帕借助互文、滑稽模仿和仿作等跨文性创作手法,改写了莎士比亚经典剧作《哈姆雷特》。斯托帕舍弃了莎翁剧中绚丽的语言描绘和细腻的心理刻画,转而侧重表现哈姆雷特怪异、疯癫的言语和残忍、粗俗的行径。在突显这些言语行径对于整个故事走向和该剧主人公悲剧命运重要作用的同时,斯托帕展现了哈姆雷特内心的矛盾与纠结,揭示出那些蕴含于他性格之中的现代社会小人物特质,从新的角度塑造出一个另类的哈姆雷特形象,借以传达出他对哈姆雷特这一经典人物的独特理解。

In Rosencrantz and Guildenstern Are Dead,Tom Stoppard,a British playwright,recomposes Shakespeare's Hamlet by way of adopting transtextual strategies such as intertextuality,travesty and parody.Instead of simply copying Shakespearean brilliant rhetoric and exquisite psychological depiction, Stoppard places particular emphasis on displaying Prince Hamlet's eccentricity,insanity and rudeness.By highlighting the impact of Hamlet's words and behavior on the development of the story and the fate of his protagonists,Stoppard models the image of a weird Hamlet from a peculiar perspective through which he reveals Hamlet's inner ambivalence and confusion,and uncovers the temperament of modern lower class people that lies covert in the character of the prince,thereby conveying his unique understanding of the classic figure of Hamlet.