跨文化演绎中的本土建构——从莎士比亚的悲剧《麦克白》到徽剧《惊魂记》

发布时间：2018-05-06 19:43

本文选题：莎士比亚 + 徽剧《惊魂记》　；参考：《外国文学研究》2017年04期

【摘要】：徽剧《惊魂记》为近年来以中国传统戏曲的虚拟性、写意性、程式化的唱、念、做、打表现手法改编莎士比亚悲剧《麦克白》的一部成功作品。《惊魂记》在充分挖掘、外化人物心理的基础上,在保持原作悲剧精神的大原则中,以徽剧擅长夸张、变形的抒情与叙事方式表现人物内心的煎熬,以徽剧特有的表现技艺外化人物的内心矛盾,通过浓郁的诗意呈现,以多样的叙述媒介为载体,以徽剧的呈现方式为本体,对原作中人性中的恶给出了伦理和美学层面的批判。《惊魂记》成功地以徽剧语言讲好了世界的莎剧,它的创排是中国莎学的重要收获之一。
[Abstract]:The Emblem Drama "Soul" is a successful work in recent years based on the fictitious, freehand, stylized singing, reading and doing of traditional Chinese operas, adaptation of Shakespeare's tragedy "Macbeth" by means of expression. On the basis of the externalized characters' psychology, in the principle of maintaining the tragic spirit of the original works, Huizhou opera is good at exaggeration, deformed lyricism and narrative way to express the suffering of the characters' inner heart, and to express the inner contradictions of the characters with the unique skills of the Hui opera. Through a rich poetic presentation, with a variety of narrative media as the carrier, Huizhou drama as the presentation of the Noumenon, The author criticizes the evil in human nature in the original work from the ethical and aesthetic aspects. "Spirit of Fright" successfully talks about the world's Shakespeare opera in the language of Huizhou opera, and its creation and arrangement is one of the important achievements of Chinese Sha's study.
【作者单位】：浙江越秀外国语学院;四川外国语大学研究生院;
【分类号】：J805

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