从“武松杀嫂”看影视剧改编中的创新

On the Innovation of Movie and TV Drama Adaptation Based on The Wusong Killing Sister-in-law

《水浒传》(1998年版)和《新水浒传》(2011年版)的编导在处理武松杀嫂情节时,均将原著里潘金莲招供改成了王婆招供,并用含蓄暗示的方式替代了原著潘氏被杀的残忍场面。通过对这些改动分析即可管窥到,编导以同情的态度代替了原著对潘氏的仇视。其实,早在欧阳予倩的话剧《潘金莲》和魏明伦的川剧《潘金莲》二部作品里,都已经通过对武松杀嫂情节的大胆改编,突出强调潘金莲是一个被害者、反抗者,对其翻案,并在当时获得成功。据此并综合相关材料分析表明,影视的编导对原著的改编,必然带着自己所在时代文化特色对其赋予新的意义,而这种对原著的突破和创新,既具有可行性,也具有必要性,而所谓“忠实型改编”并不具可行性。

When dealing with the plot of Wu Song killing His Sister-in-law,the directors of the 1998 edition of Water Margin and the 2011 edition of New Water Margin changed the confession of Pan Jinlian into the confession of Wang Po,and replaced the cruel scene of Pan’s death in an implicit manner.Through the analysis of these changes,we can see that the director has a strong sympathetic attitude towards Pan’s death rather than the hatred in the original works.In fact,as early as Ouyang Yuqian’s drama Pan Jinlian and Wei Minglun’s Sichuan opera Pan Jinlian,both of them have boldly adopted the plot of Wu Song’s killing sister-in-law,emphasizing that Pan Jinlian is a victim and rebel.Eventually,it is successful to reverse a verdict.Based on this and comprehensive analysis of relevant materials,it is shown that the adaptation of the original works by film and television directors is bound to give new significance to them with the cultural characteristics of their own times.Therefore,this breakthrough and innovation of the original works is both feasible and necessary,while the so-called“faithful adaption is not so.