试论全球化语境下的中国戏曲跨文化改写——以《麦克白》的昆剧改写为例

Cross-cultural Adaption in Chinese Traditional Operas under the Context of Globalization——Based on the Example of Macbeth Kun Opera Adaption

在全球化语境下,莎士比亚的《麦克白》曾先后以新编昆剧《血手记》和实验昆剧《夫的人》的形象亮相于舞台。在相距三十年的改编中,剧作者们不约而同地通过情节删减、改变女巫功能等方式完成了对原作的主题挪移,由人性悲剧变为人情悲剧。尤其是女性角色的处理,更是由帮凶变成了弃妇。更重要的是,这种对他者文化的兴趣不仅源自跨文化交际的刚性需求,也来自对自身问题的困扰,即从外来文化中寻找中国传统戏曲与现代社会融合的最佳方法。虽然尝试带来了新意,但却破坏了昆剧的编演传统,干扰了固化的欣赏习惯,并未能成功创立具有普遍性、稳定性、延续性、可复制性的跨文化改写范式。

In the context of globalization,Shakespeare＇s ＂Macbeth＂was adapted two times in Chinese traditional operas. One of them was a Kun opera premiered in 1986,named Blood Fingerprint which was newly organized. The other one was an experimental Kun opera,named Who＇s Wife,premiered in 2008. In the nearly thirty years,the writers finished the completion of changing of the original theme by cutting through plots and changing the function of witches,invariably. This work is transformed from human tragedy into human relationship tragedy. Especially the role of women was transformed from accomplice into a deserted wife. More importantly,the interest in other cultures is not only from rigid demand on intercultural communication,also from its own problems,that is to find the best way to integrate Chinese traditional operas smoothly into modern culture. Despite of the attempt to bring new ideas,it has destroyed the performance tradition of Kun opera,interfered with the curing appreciation,and failed to create overwrite mode which can be copy universality,stability,continuity and easy to be reproduced.