“高尚且真诚的目标”——20世纪中叶美国改编版《琵琶记》(《琵琶歌》)之成形与剧评

“A High and Sincere Aim”—— Reaction to a Mid-20^(th) Century Pipaji Adaptation in the American Press

《琵琶记》的美国改编版《琵琶歌》(Lute Song)于1946年在百老汇首演。《琵琶歌》的成形与媒体接受过程所历经的成功与问题,为中国传统戏剧在美国(或全西方)传播所遭遇的困境提供了一个早期实例。《琵琶歌》形成过程中受到美国华人粤剧和欧洲汉学的影响。出于反映当年西方对中国的幻想,《琵琶歌》试图把中国文本搬上百老汇舞台,在当时算是一个里程碑。虽然如此,美国媒体的反应比较迷惑,抱怨戏太慢,剧种不明确,他们所赞美的主要是布景设计,但认为在没有专业戏曲演员的状况下,演出效果一般,演出沦为徒具异国情调的形式。《琵琶歌》的策略及媒体不一致的反应,反映着当今跨文化戏剧仍然关心的议题。

Lute Song,an American adaptation ofPipa ji(The Lute《琵琶记》), premiered on Broadway in 1946. The successes and issues of its genesis and media reception provide an early example for the difficulties of transferring traditional Chinese drama to the American(or more generally, the Western) stage. In its genesis, Lute Songwas influenced by the Cantonese immigrant stage and European Sinology. Although it also reflects Western fantasies of China,Lute Song’s attempt to stage a Chinese script on Broadway constitutes a milestone. However, the American media was puzzled, complaining about its slow place, generic unidentifiability, and largely praising only its stage décor. In the absence of professional xiqu(戏曲)actors, the stage effect was mediocre, and the performance became an exercise in exoticism.Lute Song’s strategies and the media’s uneven response reflect issues that are still of concern to cross-cultural theatre today.