书写"抒情":"莎戏曲"的传统印记

Writing “the Lyrical”: Traditional Imprints in Shake-xiqu

相对于西方文化所有之“叙事传统”(源于史诗悲剧),中国文化或偏向于“抒情传统”(源于诗歌)。“抒情”,明显是中国文化/文学的本质。就中国戏曲而言,演唱者也常代表剧作家抒发感情,表现自我,因而形成一种特殊的诗剧书写格局。“莎戏曲”(指从莎士比亚戏剧改编“由真人扮演”的中国传统戏曲)在跨文化剧场中,固然具有与原著“文本互涉”的关系(intertextual relationship ),却也无法回避“抒情”本质(lyrical nature )的铭刻与影响。借用高友工教授的“抒情美典”(Lyrical aesthetics)理论,探究“抒情”从古典戏曲到当代戏曲的历史意义,同时观照“莎戏曲”“为什么”(创作)和“怎么样”(创作)等课题。期能建构“莎戏曲”的“抒情美典”,并促使跨文化剧场作品思考“目标文化本质”(target cultural nature)的重要性。

Compared with Western narrative traditions originating from Greek epic and tragedy, lyricism is in the nature of Chinese literature, dating back to the classical poems and songs. In terms of Chinese opera ( xiqn ), due to the fact that stage performers express both visceral sentiments and the self of each auteur, an idiosyncratic poetic dramaturgy is consequently established. Seen from the perspective of cross - cultural theatre, while “ which are adapted from Shakespearean playscripts and acted by real performers- maintains an “ intertextual ” relationship with original works, this theatre genre also inevitably inherits influences and inscriptions from the “ lyrical” nature of Chinese culture/literature. Employing Professor Gao Yougong's theory of “ lyrical aesthetics,” this article not investigate the historical meaning of the “ lyrical,” spanning from classical to contemporary periods, but isues regarding why and how “ Shake - xiqu” are created. I expect to construct the “ lyrical aesthetic” and hopefully reconsider the significance of the “ target cultural nature” in the domain of cross - cultural tlieatre.