题名

Vision and Revision of Filial Piety: Analogues and Adaptations of King Lear in Chinese Opera

并列篇名

孝辨:《李爾王》的戲曲類比與改編

DOI

10.6257/2008.1253

作者

雷碧琦(Bi-Qi Beatrice Lei)

关键词

莎士比亞 ; 李爾王 ; 歧王夢 ; 李爾在此 ; 孝 ; 戲曲 ; Shakespeare ; King Lear ; King Qi's Dream ; Lear Is Here ; filial piety ; Chinese opera

期刊名称

戲劇研究

卷期/出版年月

1期(2008 / 01 / 01)

页次

253 - 282

内容语文

英文

中文摘要

上海京劇院的《歧王夢》與當代傳奇劇場的《李爾在此》均改編自莎士比亞的悲劇《李爾王》,但此兩齣戲對於「不孝」這個主題的處理方式迥異。孝爲儒家的核心思想,被視爲天經地義。傳統戲曲以風教爲先,「孝子劇」所在多有。儒家文化視不孝爲滔天大罪,必須審慎處理才能登上舞臺。由三齣與莎士比亞《李爾王》情節類似的戲曲劇目《清風亭》(又名《天雷報》)、《牆頭記》與《五女拜壽》中,可看見傳統劇場以(一)報應、(二)滑稽喜劇、(三)代罪羔羊、(四)大團圓等手法來處理此一尖銳題材,以減弱不孝所造成的衝擊。《歧王夢》的故事情節雖取自《李爾王》,但大量借用了戲曲處理不孝題材所使用的手段,將莎士比亞的悲劇轉化爲教忠教孝的中國戲曲。《李爾在此》則不同,透過多重觀點重新檢視忠、孝、公義等觀念,對傳統的倫理與美學原則都有相當的省思。

英文摘要

Although both King Qi's Dream, by the Shanghai Beijing Opera Troupe, and Lear Is Here, by the Contemporary Legend Theatre, are adaptations of Shakespeare's tragedy King Lear, their treatments of its theme of unfiliality differ. Filial piety is one of the core values of Confucianism. Traditional Chinese theatre has a strong moralizing tendency and many of its plays preach filial devotion. Transgression against filial piety is considered a fundamental sin in Confucian culture, and it demands sensitive handling when publicly staged. Analyzing three plays from traditional theatre's repertoire-The Clear Breeze Pavilion (also called Heavenly Thunder's Retaliation), The Story of the Wall, and Birthday Greeting by Five Daughters-I identify four techniques used to mitigate the shock of unfilial children: (A) providential retaliation, (B) comedy and farce, (C) scapegoating, and (D) the ”grand reunion.” While hewing to King Lear's storyline, King Qi's Dream uses comparable tactics to transmute Shakespeare's tragedy into a didactic play of Chinese opera. Conversely, Lear Is Here employs multiple perspectives to recast the notions of filial piety, loyalty, and justice. In doing so, it challenges ethical and aesthetic traditions alike.

主题分类 人文學 > 藝術
参考文献
  1. Tianjinshi Zhonghua minzu wenhua cujinhui 天津市中華民族文化促進會 (The Tianjin City Promotion Committee of Chinese Culture). Qing feng ting 清風亭 (The Clear Breeze Pavilion). Tianjin 天津: Wenhua yishu chubanshe 文化藝術出版社 (Culture Art Press), 2001. 2 video compact disks.
  2. (1974)。Lidai shishi changbianer ji。Taipei=臺北:Zhongguo xuedianguan fuguan choubeichu=中國學典館復館籌備處=Preparatory Office for the Reopening of the Chinese Text Center。
  3. Zhejiangsheng xiaobaihua Yueju tuan 浙江省小百花越劇團 (Little Hundred Flower Yue Opera Troupe of the Zhejiang Province). Wu nu baishou 五女拜壽 (Birthday Greeting by Five Daughters). Hangzhou 杭州: Zhejiang wenyi yinxiang chubanshe 浙江文藝音像出版社 (Zhejiang Art Audio and Video Press). N.d. 3 video compact disks.
  4. Hu Keyi 胡克毅. “Wenhua de beilun yu meixue de kunhuo: Zhejiang xiaobaihua Yueju tuan de xiandaixing chanshi” 文化的悖論與美學的困惑:浙江小百花越劇團的現代性闡釋(“Cultural Paradox and Aesthetic Confusion: Zhejiang Xiaobaihua Yue Opera Troupe's Modern Interpretation”). Xiju yenjiu 戲劇研究 (Drama Studies). 24 Dec. 2007
  5. Dangdai chuanqi juchang 當代傳奇劇場 (The Contemporary Legend Theatre). Lier zai ci 李爾在此(Lear Is Here). 2001. Unpublished. 2 digital video disks
  6. (1960).The Chinese Classics.Hong Kong:Hong Kong UP.
  7. Swinburne, Algernon. A Study of Shakespeare. In The Complete Works of Algernon Charles Swinburne. Ed. Sir Edmund Gosse, C.B. and Thomas James Wise. London: Heinemann, 1926. XI: 1-222
  8. "Wu nu baishou rechu qinchuan jiufen"《五女拜壽》惹出侵權糾紛 ("Birthday Greeting by Five Daughters: A Plagiarism Lawsuit"). Zhejiang zaixian 浙江在線(Zhejiang Online). 7 Jul. 2006 .
  9. The Hsiao King. Trans. James Legge. In The Sacred Books of China: The Texts of Confucianism, Part 1. Vol. 3 of The Sacred Books of the East. Oxford: Clarendon, 1879. 465-88
  10. Shandongsheng Luju tuan 山東省呂劇團 (The Lu Opera Troupe of the Shandong Province). Qiang tou ji 牆頭記 (The Story of the Wall). Jinan 濟南: Shandong wenhua yinxiang chubanshe 山東文化音像出版社 (Shandong Culture Audio and Video Press). N.d. 2 video compact disks
  11. Shanghai Jingju yuan 上海京劇院 (The Shanghai Beijing Opera Troupe). Qiwang meng 歧王夢(King Qi's Dream). Jinan 濟南: Qilu yinxiang chubanshe 齊魯音像出版社 (Qilu Audio and Video Press). N.d. 2 digital video disks
  12. Bradley, A. C(1960).Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth.London:Macmillan.
  13. Cai, Zhongxiang(1988)。Zhongguo gudian julun gaiyao。Beijing=北京:Zhongguo renmin daxue chubanshe=中國人民大學出版社。
  14. Chan, Alan K. L.,Tan, Sor-hoon(2004).Filial Piety in Chinese Thought and History.London:Routledge Curzon.
  15. Evans, G. BlakemoreEd.(1974)。The Riverside Shakespeare。Boston:Houghton Mifflin。
  16. Frye, Northrop(1957).Anatomy of Criticism: Four Essays.Princeton:Princeton UP.
  17. Girard, René,Freccero, Yvonne(trans.)(1965).Deceit, Desire, and the Novel: Self and Other in Literary Structure.Baltimore:Johns Hopkins UP.
  18. Glynne, Wickham(1973).From Tragedy to Tragic-Comedy: King Lear as Prologue.Shakespeare Survey,26,33-48.
  19. Guy, Nancy(2005).Peking Opera and Politics in Taiwan.Urbana:U of Illinois P.
  20. Hsü, Tao-Ching(1985).The Chinese Conception of the Theatre.Seattle:U of Washington P.
  21. Huang, Alexander C. Y.(2006)。Ershi shiji Shaju yanchu xinmao: Lun Wu Hsing-kuo de Lier zai ci。Chung Wai Literary Monthly,34(12),109-23。
  22. Johnson, Samuel(1989).Samuel Johnson on Shakespeare.London:Penguin.
  23. Jones, Emrys(1971).Scenic Form in Shakespeare.Oxford:Clarendon.
  24. Knight, G. Wilson(1960).The Wheel of Fire: Interpretations of Shakespearean Tragedy, with Three New Essays.New York:Meridian.
  25. Li, Ruru(2006).Who is it that can tell me who I am?'/'Lear's shadow': A Taiwanese Actor's Personal Response to King Lear.Shakespeare Quarterly,57(2),195-215.
  26. Lu, Yingkun(1992)。Zhongguo xiqu yu shehui zhuse。Changchun=長春:Jilin jiaoyu chubanshe=吉林教育出版社。
  27. Mackerras, Colin(Ed.)(1983).Chinese Theater: From Its Origins to the Chinese Theater: From Its Origins to the Present Day.Honolulu:U of Hawaii P.
  28. Markels, Jilian(1964).Shakespeare's Confluence of Tragedy and Comedy: Twelfth Night and King Lear.Shakespeare Quarterly,15(2),75-88.
  29. Miola, Robert S.(1994).New Comedy in King Lear.Philological Quarterly,73(3),329-46.
  30. Moschovakis, Nicholas R.(Ed.).Macbeth: New Critical Essays.London:Routledge, forthcoming..
  31. Partee, Moriss Henry(1971).The Divine Comedy of King Lear.Genre,4,60-75.
  32. Peck, Russell A.(1967).Edgar's Pilgrimage: High Comedy in King Lear.Studies in English Literature,7(2),219-37.
  33. Pu, Songling、Sheng, WeiEd.(1998)。Songling quanji。Shanghai=上海:Xuelin chubanshe=Academia Press=學林出版社。
  34. Qi, Huiyuan(2002)。Fengjian tudao nuesha xia de renqing renxing: Qing feng ting 'renzi' shangxi。Yishu bai jia,2002(3),68-69+34。
  35. Qu, Liuyi。麒派劇目。Zhongguo xiju chubanshe。
  36. Ren, Xiaowen(2003)。Gudai 'xiaozi ju' mantan。Gudian wenxue zhishi,2003(4),123-127。
  37. Shanghai Jingju yuan yishu chuangzuo bu(2005)。Shanghai Jingyu yuan chuangzuo juben xuan。Shanghai=上海:Shanghai wenhua chubanshe=上海文化出版社=Shanghai Culture Press。
  38. Shen, Hongxin(2004)。Mei Lanfang Zhou Xinfang han Jingju shijie。Shanghai=上海:Hanyu dacidian chubanshe=漢語大詞典出版社=Publishing House of an Unabridged Chinese Dictionary。
  39. Snyder, Susan(1979)。The Comic Matrix of Shakespeare's: Tragedies: Romeo and Juliet, Hamlet, Othello, and King Lear。Princeton:Princeton UP。
  40. Sun, Guangxian(2003)。Beimeng suoyan。Xian=西安:Sanqin chubanshe=三秦出版社。
  41. Tian, Shilin(1980)。Zhongguo xiqu de lijie yu xinshang。Taipei=臺北:Fenfang baodao zazhishe=芬芳寶島雜誌社=Fragrant Formosa Magazine。
  42. Tian, Shilin(1980)。Zhongguo xiqu de lijie yu xinshang。Taipei=臺北:Fenfang baodao zazhishe=芬芳寶島雜誌社=Fragrant Formosa Magazine。
  43. Wang, Zhengyao(2005)。Qingdai xiju wenhua shilun。Beijing=北京:Beijing daxue chubanshe=北京大學出版社=Peking UP。
  44. Wawrytko, Sandra A.(1986).Meaning as Merging: The Hermeneutics of Reinterpreting King Lear in the Light of the Hsiao-ching.Philosophy East and West,36(4),393-408.
  45. Wei, Ming。Tan Qi pai yishu。Zhongguo xiju chubanshe。
  46. Wu、 Tongbin(2001).Jingju zhishi shouce.Tianjin=天津:Tianjin jiaoyu chubanshe=天津教育出版社=Tianjin Education Press.
  47. Xia、 Yang(1996).Lier wang hua Qiwang meng: Yanzhiyuan lun de yu shi.Zhongguo dianshi xiqu,1996(1),12-13.
  48. Yu、 Nianli(1998).Zuihao haishi ba ta tiandaleipi: Jianshuo Jingju Qing feng ting jiewei de xiugai.Dongfang yishu,1998(6),91.
  49. Zheng、 Chuanyin(1995).Zhongguo xiqu wenhua gailun.Taipei=臺北:Zhiyi chubanshe=志一出版社=Zhiyi Press.
  50. Zhongguo xiju chubanshe=中國戲劇出版社=China Theatre Press(ed.)(1982).Zhou Xinfang yishu pinglun ji.Beijing=北京:Zhongguo xiju chubanshe=中國戲劇出版社=China Theatre Press.
  51. Zhongguo xijujia xiehui=中國戲劇家協會=Chinese Theatre Association(Ed.)(1955).Zhou Xinfang yanchu juben xuanji.Beijing=北京:Yishu chubanshe=藝術出版社=Art Press.
  52. Zhou、 Mingtai(ed.)(1971).Qing Shengpingshu cundang shili manchao.Taipei=臺北:Wenhai chubanshe=文海出版社=Wenhai Press.
  53. Zhou、 Xinfang(1981).Zhou Xinfang wenji.Beijing=北京:Zhongguo xiju chubanshe=中國戲劇出版社=China Theatre Press.
被引用次数
  1. Liang, Lia Wen-ching(2014).Navigating Between Shakespeare and Jingju: Wu Hsing-Kuo's Li Er Zaici.Tamkang Review,45(1),131-149.
  2. Tsai, Ssu-Yun(2023)。Presenting Shakespearean Complexity in Formalist Performances: Questioning Heaven and Transcultural Xiqu Adaptations。戲曲學報,28,167-204。
  3. 陳芳(2016)。語言.表演.跨文化:《李爾王》與「莎戲曲」。戲劇研究,18,113-144。
  4. (2009)。跨文化改編的「務頭」:以「莎戲曲」為例。戲劇學刊,10,149-171。