跨文化演绎中的本土建构——从莎士比亚的悲剧《麦克白》到徽剧《惊魂记》

Performance of the Shakespearean Classic by Chinese Operas:From Shakespeare's Tragedy Macbeth to Anhui Opera Jing Hun Ji

徽剧《惊魂记》为近年来以中国传统戏曲的虚拟性、写意性、程式化的唱、念、做、打表现手法改编莎士比亚悲剧《麦克白》的一部成功作品。《惊魂记》在充分挖掘、外化人物心理的基础上,在保持原作悲剧精神的大原则中,以徽剧擅长夸张、变形的抒情与叙事方式表现人物内心的煎熬,以徽剧特有的表现技艺外化人物的内心矛盾,通过浓郁的诗意呈现,以多样的叙述媒介为载体,以徽剧的呈现方式为本体,对原作中人性中的恶给出了伦理和美学层面的批判。《惊魂记》成功地以徽剧语言讲好了世界的莎剧,它的创排是中国莎学的重要收获之一。

Anhui Opera Jing Hun Ji,a recently successful adaptation of Shakespeare＇s Macbeth,reflects fictionality,freehand（enjoyment）,stylized singing,reading,doing and playing among Chinese conventional operas.Jing Hun Ji completely explores and externalizes the psychology of characters,and keeps the original tragic spirit while it adopts exaggerated and transformed lyric narrative in Anhui Opera to show the inner torment of characters,and reflective techniques specially in Anhui Opera to externalize the spiritual conflicts of characters.Taking various narrative media as the base,and Anhui Opera＇s reflection as the noumenon,it also poetically presents the criticism about the evil human nature from the perspective of ethics and aesthetics.Hence the creation and performance of the Anhui Opera Jing Hun Ji is a great adaptation of the Shakespearean play and great achievement for the Chinese Shakespeare studies.