浅议中西古典戏剧中的鬼魅形象——以《伐子都》和《麦克白斯》为例

中国古典戏曲《伐子都》和莎士比亚的四大悲剧之一《麦克白斯》有着相似的故事情节,而且也都运用到了鬼魅形象,这一形象的塑造在很大程度上推动了剧情的发展。但这两部戏剧采用了不同的方式来刻画鬼魂,前者让鬼魂自主地表达、行动,而后者中的鬼魂只是一个不能说话但却能引起主人公激烈内心挣扎的影子。这两种鬼魅形象塑造方式反映了中西戏剧在"情"与"理"上的不同侧重。中国戏剧强调圆情,要圆作者、人物和观众的主观情感,为了圆情可以让鬼魅像人一样活动;西方戏剧则重客观事理,偏向于按必然律或可然律编排故事,循理展开情节,即便塑造鬼魅也会尽力不悖常理。

There are similar plots and stories in Fazidu, a traditional play in China, and Macbeth, one of Shakespeare＆#39;s four great tragedies. Among their similarities, the appearances of ghosts exert great effects in polishing the plots. However, the two playwrights adopt various ways to depict their ghosts. The ghosts in Fazidu take initiative in their words and behaviors, while the ones in Macbeth are just shadows to torture the main characters. These two types of portrayal demonstrate the different focuses on emotion and reason in Chinese and western plays. Chinese plays emphasize on emotions, aiming at satisfying the expectations of the playwrights, characters and audience. In contradiction, western plays highlight objective reason, which cannot be surpassed by subjective emotions.