从小说到戏剧:后现代与田沁鑫的话剧改编——从《北京法源寺》谈起

From Novel to Drama:Postmodernism and Tian Qinxin's Huaju Adaptations--Starting with Beijing Fayuan Temple

自1999年改编萧红小说《生死场》开始,田沁鑫进行了一系列的话剧改编实践。这种实践是新世纪中国话剧探索的一股激流,代表着当代中国话剧编导的审美新趋势。与传统话剧改编相比,田沁鑫的改编力图挣脱文学原作的桎梏,强化导演在构剧中的主体作用,利用剧场媒介对原作进行再阐释与再创造。以话剧《北京法源寺》为例,田沁鑫在编导中采用群体叙述,以众声喧哗的方式瓦解历史记录和小说原文,通过游戏化、碎片化、感官化的后现代戏剧方式,呈现给观众一个多种可能的戏剧世界。这些特征是新世纪中国话剧编导区别于以往戏剧改编的一个明显特征,也是新世纪中国戏剧改编普遍采用的方式。

Tian Qinxin has engaged in a series of Huaju adaptation practices since her adaptation of Xiao Hong's novel Field of Life and Death in 1999.These practices represent a powerful current in the exploration of Chinese Huaju in the new century and signify a new aesthetic trend among contemporary Chinese Huaju directors.Compared to traditional Huaju adaptations,Tian Qinxin's approach strives to break free from the constraints of the literary source material,emphasizing the director's central role in shaping the drama and utilizing theatrical media to reinterpret and recreate the original work.For example,in the play Beijing Fayuan Temple,Tian Qinxin employs collective narration and a cacophony of voices to dismantle historical records and the original text of the novel.Through postmodern theatrical techniques characterized by playfulness,fragmentation,and sensory emphasis,she presents the audience with a dramatic world full of possibilities.These features mark a significant distinction from previous theatrical adaptations in Chinese Huaju and represent methods widely adopted in new-century Chinese drama adaptations.