＂Maybe I Didn't Go for My Father＂: Storytelling and Transcultural Re-Creation in Two Versions of Mulan

「或許吾非代父從軍」－兩個版本《木蘭》的故事講述與跨文化重塑

賴維菁(Wei-ching Lai)

cultural restorations ； cultural reformulations ； Francesco Casetti ； adaptation ； Mulan ； 文化回返 ； 文化重組 ； 寇沙帝 ； 電影改編 ； 《花木蘭》

興大人文學報

65期（2020 / 09 / 01）

127 - 148

英文

Two versions of Mulan's tale-Disney's Mulan (1998) and its theatrical namesake staged in Taiwan (2017)-are analyzed in this paper. The inevitable hybridity of Disney's Mulan is explained by Francesco Casetti's theorization of adaptation. After analyzing the four frames of its communicative situation, I conclude that the production of Disney's version is greatly influenced by Disney's success formula (institutional frame), the demand of a global audience (interactional frame), the availability of Mulan's tale(s) in the US (intertextual frame), and American filmmakers' life experience (existential frame). In fact, the hybridity of the world-renowned animated film is inherent and inevitable. When a Taiwanese playwright retells the story, he should take into account the child audience's cultural identities, which might be constructed through their participation in the performance. Consequently, cultural restorations and cultural reformulations, as well as representations of Taiwanese children's life experience, appear in the play, which to some extent can be regarded as the playwright's ＂reading＂ or response to Disney's version. After the release of Disney's Mulan in 1998, Mulan's tale will not shake off its shadow for a long while and will continue to assume a ＂global＂ feature. Mulan's tale turns into a platform for the eastern and western cultures to juxtapose, clash, converge, negotiate, and communicate until the next paradigm shift.

本論文旨在分析兩個不同版本的木蘭故事：1998年上映的迪士尼《花木蘭》和2017年台灣佳音兒童劇團演出的《木蘭》。論文的第一部分藉由電影學者寇沙帝（Francesco Casetti）的電影改編觀點來分析迪士尼卡通影片無可避免的混雜性，透過分析新的溝通情境（communicative situation）的四個框架可以得知：迪士尼的《花木蘭》深受公司成功獲利公式（機構框架）、全球觀眾的觀影需求（互動框架）、美式的木蘭故事（互文框架）和美國電影創作者的生活經驗（生存框架）等四項因素的交織影響，作品當中的文化混雜在所難免。然而，當台灣的劇作家在經歷迪士尼木蘭的強烈衝擊之後再改編木蘭故事，須得考量到兒童觀眾的文化認同，這種認同是藉由劇作的傳遞和兒童觀眾的觀劇參與所產生的。劇作因而呈現文化回返（cultural restorations）和文化重組（cultural reformulations）的現象，而作品本身亦可視為作者對於迪士尼木蘭的閱讀與反饋。經由迪士尼《花木蘭》的改編之後，木蘭故事恐怕會有滿長的一段時間無法擺脫它的影響，沾染上一種新的全球性風貌，而這個故事也會持續成為東西文化角力與揉合的場域。

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