越剧《王子复仇记》——从西方悲剧到中国悲剧的转换

Hamlet in Yue Opera:A Shift from Western Tragedy to Chinese Tragedy

1994年由赵志刚主演的越剧《王子复仇记》为莎剧戏曲改编中的一部成功之作。该剧将西方悲剧本土化为中国戏曲舞台上更符合观众审美的中国悲剧,在时空设定、情节安排、人物设置、艺术技巧、抒情性和超自然氛围的留存方面,保持了西方悲剧必要的特征,但是在悲剧冲突设置方面,越剧改编弱化了原剧中哈姆莱特挣扎的冲突,而将这一主要人物的性格设定单一化为忠、正、良、善的代表,将观众纳入评判体系,凸显中国戏曲悲剧中评判的冲突,伦理意味更为浓重。在发展王子男性英雄悲剧的同时,也着力刻画以雷莉亚为代表的女性苦情悲剧。改编过程中所做的形变和改良,皆符合越剧形式、结构、审美上的普遍规律。这一西方悲剧与越剧悲剧相互交融和适应的过程,使得西方悲剧在中国的文化背景、越剧的戏剧形式下依然能实现其悲剧的价值,并且更能符合中国观众的审美需求。越剧《王子复仇记》在保持越剧传统、遵循越剧审美范式的前提下进行适时的创新与突破,探寻当代越剧的多元可能性。

Released in 1994,Hamlet s Yue Opera adaptation performed by Zhao Zhigang is one of the successful cases of Chinese adaptation of Shakespeare s opera.This adaptation localizes Hamlet and makes a shift from staging a Western tragedy to staging an oriental tragedy.It retains its tragic space,plot,characters and supernatural elements,yet it adds to the tragic conflict by involving the spectators into the judging process and highlights its esthetical aspects.In terms of the characterization,the adaptation emphasizes the female tragic roles in the opera,developing traditional Chinese tragic heroine side by side with the tragic hero.The transformation and appropriation made in the adaptation conform to the Yue Opera model and paradigm on the one hand,and put tragedy in the Chinese setting and pander to Chinese aesthetics on the other.It is in this way that Yue opera adaptation of Hamlet makes innovations and breakthroughs to explore intercultural possibilities.