Rebirth and Transfiguration of Chinese Opera in WesternOpera: Semiotic Analysis of the Chinese Operatic Elements in the 1987 Metropolitan Opera Production of "Turandot"

中國戲曲在西方歌劇中的重生與變容──試論中國戲曲元素在一九八七年大都會歌劇院《杜蘭朵》歌劇製作中的符號分析

10.6257/2011.8139

林祖誠(Tsu-Cheng Lin)

戲劇符號分析 ； 中國戲曲 ； 歌劇 ； 杜蘭朵 ； 佛朗哥．柴飛雷利 ； Theatrical Semiotic analysis ； Chinese opera Opera ； Turandot ； Franco Zeffirelli

戲劇研究

8期（2011 / 07 / 01）

139 - 176

英文

作為義大歌劇作曲巨擘普契尼最後一部未完成的作品，也是當今世界各大歌劇院最佳票房保證劇目，《杜蘭朵》一直被視為東方主義中最具代表性的藝術作品之一。接續自於十九世紀對北非與西亞東方研究，東方主義一詞在直到一九七八年愛德華．薩依德在其出版的同名書籍中才得到全面、完整的學術定義。在反省西方藝術與學術界對東方文化主觀詮釋的態度與幻想，薩依德在面對這一歐洲殖民主義的文化副產品時，犀利地批評這一自我中心的觀點。然而，早在他尖銳的評論之前，這股浪漫的東方情懷早已在西方藝術、文學與音樂中激發出諸多經典的藝術創作。而『杜蘭朵』便是其中翹楚之一，在一九二六年首演於義大利歌劇最高殿堂米蘭史卡拉歌劇院，這部歌劇所呈現的，是東方異國情調的音樂與故事以及西方追求愛情的主題與思想兩者完美的結合。在歌劇舞台上，《杜蘭朵》一劇的製作，多沿襲西方自身對東方特有的詮釋來滿足其跨文化浪漫幻想的傳統。正因為劇本情節設定在遙遠的中國古代，大多數此劇的歌劇導演便會順理成章地以西方的品味與詮釋觀點來運用諸多中國文化元素以期營造、增添東方氛圍。其中，最引人注目也是最常被運用在此劇製作的中國風特點就是中國戲曲。迥異於西方戲劇傳統，中國戲曲以其豐富多元的程式化戲劇語言著稱，尤其是容妝、服飾與程式動作方面，也是諸多導演由此得到靈感創意並加以運用在製作中以增強中國情調。本文將以一九八七年紐約大都會歌劇院製作、由佛朗哥．柴飛雷利執導的《杜蘭朵》歌劇為討論的中心。本文將著重探討：1、導演在其製作中所運用的中國戲曲元素以及其試圖要達到的目的為何？2、他們如何將其所選擇的元素融合在表演中用以創造預期的戲劇效果以及呈現其對此劇的詮釋？

”Turandot”, as the last unfinished masterpiece of Puccini and a sure guarantee of the office box for the opera house nowadays, has long been regarded as one of the most representative prime works of Orientalism. Initiated in the nineteenth century from the Oriental study, focusing mainly on North Africa and Western Asia, the term ”Orientalism” received a more comprehensive academic definition from Edward Said in 1978 with the publication of his book of the same title. Reflecting upon the western artistic and academic fantasy attitude toward objective interpretation of the East, a cultural side-product of European imperialism, Said insightfully criticized this scholarly, self-centered viewpoint. Long before Said's critique, however, such a trend of oriental fantasy inspired artistic creativity in western art, literature and music. Premiered at the Teatro alla Scala in Milan, Italy in 1926, ”Turandot” presents a perfect union of oriental exoticism in music and plot with occidental love pursuit in theme and ideology. On the operatic stage, the productions of ”Turandot” largely follow this westerncentered interpretative tradition toward the East to fulfill cross-cultural fantasy. Due to the plot setting in remote, ancient China, almost all contemporary opera directors, when it comes to ”Turandot”, apply numerous Chinese elements on the stage to create or enrich the oriental atmosphere according to western tastes and interpretation. And one of the most distinguished Chinese characteristics commonly utilized in various productions is Chinese opera. Unlike the western theatrical tradition, Chinese opera is renowned for its rich heritage of symbolic, stylized theatrical language, especially in makeup, costume and movements, from which these opera directors draw inspiration applied in ”Turandot” to create Chinoiserie. In this research the 1987 Metropolitan production, directed by Franco Zeffirelli, of ”Turandot” will be cited for discussion. The main focus of this analysis is to investigate: 1. What are the directors' choices of Chinese operatic elements in these productions and what is their intention in utilizing these elements? 2. How do the directors integrate these elements into the performance to create the intended theatrical effects and to present their interpretation of ”Turandot”?

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