| 题名 |
Presenting Shakespearean Complexity in Formalist Performances: Questioning Heaven and Transcultural Xiqu Adaptations |
| 并列篇名 |
於程式化劇場展演莎劇複雜性之嘗試：《天問》與跨文化戲曲改編 |
| DOI |
10.7020/JTCT.202306_(28).0006 |
| 作者 |
Tsai, Ssu-Yun (Alice Tsai)(蔡斯昀) |
| 关键词 |
Questioning Heaven ； King Lear ； Shake-xiqu ； contemporary xiqu ； filial piety ； 天問 ； 李爾王 ； 莎戲曲 ； 當代戲曲 ； 跨文化改編 ； 孝道研究 |
| 期刊名称 |
戲曲學報 |
| 卷期/出版年月 |
28期（2023 / 06 / 01） |
| 页次 |
167 - 204 |
| 内容语文 |
英文;繁體中文 |
| 中文摘要 |
Questioning Heaven 天問, the last of the Bangzi Shakespeare trilogy is a relatively new play among the xiqu adaptations of King Lear . Compared with King Qi's Dream 歧王夢 and Lear is Here 李爾在此, there has not been much research on this new play in the scholarship. Focusing on the analysis of Questioning Heaven , I not only compare it with its source text but build a framework to organize the close readings of the three Lear adaptations. This framework will consist of two forms: in the first form, I study how or whether each of the five plays depicts the parents' regrets on the banishment of the good daughter, their lack of sympathy, and their authoritarian rule or mistreatment of the elder daughters. In the second form, I review how or whether each script portrays the causes of the unfilial children's cruel deeds. To compare the different adaptation strategies, I also study how the playwrights adapt the mock trial, Edmund's background story, and the love triangle between Edmund, Goneril, and Regan, as these factors will significantly change the audiences' reception of the antagonists. By specifying the key factors that influence the portrayal of the members of different generations, I seek to offer a clearer vision that facilitates the discussion on how and whether each production opens the space for its audience to reconsider the traditional value of filial piety. Among the three adaptations, Questioning Heaven seeks to present the original Lear and demonstrate the key issues in Lear in a way more similar to its source text with a motive much more resolute. By selecting a few accessible reviews on the play, I investigate to what extent the playwrights' intention of presenting the depth in Shakespeare is received by the audience, and I argue that while Questioning Heaven have portrayed the conflict between the royal protagonist and the two older sisters rather convincingly, the adaptation still faces some limitations as a formalist performance. Further, building on Wei Feng's, Fang Chen's, and Ching-Hsi Perng's arguments on the innovative attempts in contemporary xiqu productions, I aim to connect this specific topic on the representation of family issues to the broader ones on the non-dichotomous depiction in Shakespearean works and different attempts on xiqu innovation. |
| 英文摘要 |
《天問》作為豫莎劇三部曲的謝幕作，在改編自《李爾王》的戲曲作品中亦屬較新，相比《歧王夢》和《李爾在此》，學界目前對此劇的研究相對缺乏。本文將以《天問》為核心，在將其與原作《李爾王》對照之餘，亦建立框架比較三部《李爾王》的戲曲改編，並回顧相關的當代戲曲研究。而此框架一是討論作中對父母輩的刻畫，包含其之於自身對小女兒的疏遠、同情心之缺乏、或威權式的統治是否帶有悔恨心情等；二是針對作品對不孝子女的塑造與其行為動機的處理，討論原作中的瘋審橋段、私生子生平背景、及三角愛情是否被保留與或如何被改寫，及此些橋段的處理對於反派角色的觀感影響，並由此延伸討論，各部劇本對於傳統孝道的倫理價值，是否提供了觀者在當代將其重新審視的空間。三部改編中，《天問》還原原作精義的意圖最為堅定，而本文則節選正負的劇評數則，藉以評析《天問》劇作家呈現莎劇深度的意圖之成效，並論述劇中對父女衝突刻劃的深刻度，及其在戲曲格律中取捨原作所受之限制。此外，奠基於馮偉、陳芳、彭鏡禧等學者對於當代戲曲革新的研究，本文欲將改編作品中的孝道議題，銜接至對莎劇中非二元性的刻畫、及跨文化戲曲創新議題的討論。 |
| 主题分类 |
人文學 >
藝術 |
| 参考文献 |
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