摘要
《哈姆雷特》于1962年问世,被公认为莎翁的四大悲剧之一。随着时代的变迁,消费成了新的艺术特征,《哈姆雷特》被多次改编搬上荧屏,在被改编39次之后,胡雪桦带着浓厚的"哈姆雷特"情节,将西藏王子的"复仇"之路转化为"救赎"之路。《喜马拉雅王子》站在东方文化的视角上,拨去雪域高原的神秘面纱,让观众看到了一个全新的藏族王子;它融合了高雅与低俗文化,做到了雅俗共赏。本文试从主题、场景、藏风三个层次解读《喜》剧的后现代主义特色,阐释精英文化如何从边缘回归中心,适应大众的口味。
Hamlet was published in 1962,which is considered to be one of Shakespeare's greatest tragedies.With the changes of the times and social progress,consumption has become the new artistic feature.Hamlet has been adapted onto the screen for plenty of times.After it was adapted thirty -ninth times,Hu Xueye,with strong feelings to Hamlet,had turned the Tibetan prince's road of "revenge"into the path to "redemption".Standing on the perspective of the oriental culture,Prince of the Hi-malaya removes the mysterious veil of the snow -covered plateau,allowing the audience to see a brand -new Tibetan prince. Prince of the Himalaya combines elegance and vulgar cultures,suiting both of them.This paper tries to interpret the postmod-ern features of Prince of the Himalaya from three perspectives:theme,scene and Tibetan cultures,illustrating how elite culture returns from the margin to the center to adapt to the public's taste.
