分 类 号 密 级 H31 U D C 编 号 10486 博 士 学 位 论 文 戏曲改编莎士比亚的策略研究 研 究 生 姓 名 ：熊 杰 平 指导教师姓名、职称 ：朱 宾 忠 教 授 学 科 、 专 业 名 称 ：英 语 语 言 文 学 研 究 方 向 ：英 美 文 学 二〇一八年五月 A Study on the Strategies of Adapting Shakespeare into Traditional Chinese Theater Xiong Jieping 戏曲改编莎士比亚的策略研究 熊杰平 论文原创性声明 本人郑重声明：所呈交的学位论文，是本人在导师指导下，独立进行研究工 作所取得的研究成果。除文中已经标明引用的内容外，本论文不包含任何其他个 人或集体已发表或撰写的研究成果。对本文的研究做出贡献的个人和集体，均已 在文中以明确方式标明。本声明的法律结果由本人承担。 学位论文作者（签名）： 年 月 日 武汉大学学位论文使用授权协议书 本学位论文作者愿意遵守武汉大学关于保存、使用学位论文的管理办法及规 定，即：学校有权保存学位论文的印刷本和电子版，并提供文献检索与阅览服务； 学校可以采用影印、缩印、数字化或其它复制手段保存论文；在以教学与科研服 务为目的前提下，学校可以在校园网内公布部分或全部内容。 一、在本论文提交当年，同意在校园网内以及中国高等教育文献保障系统 （CALIS）、高校学位论文系统提供查询及前十六页浏览服务。 二、在本论文提交□当年/□一年/□两年/□三年以后，同意在校园网内允 许读者在线浏览并下载全文，学校可以为存在馆际合作关系的兄弟高校用户提供 文献传递服务和交换服务。（保密论文解密后遵守此规定） 论文作者（签名）： 学 号： 2012101020005 学 院： 外国语言文学学院 日期： 年 月 日 论文创新点 莎士比亚是英美文学史上的经典作家，他的戏剧在世界舞台、银屏上被反复 改编。本人根据近百年来莎士比亚戏剧改编为中国传统戏曲的实践活动，研究了 改编过程中的语言、文化迁移，以及素体诗转换为唱念做打中的矛盾冲突，评价 了中外理论家的“机趣”、“中国化”、“挪用”、“文化他者”等改编策略， 提出了戏曲改编莎士比亚戏剧的加减法理论，根据改编与原作的偏离，回答了改 编后的作品是否还是莎士比亚的问题，并且通过实践与逻辑推理加以证明，还由 此引申出对改编作品中莎士比亚以及戏曲有机构成之研究。以往的研究较多的集 中在原著的翻译、中西戏剧的文化差异，本文则聚焦跨艺术样式的比较莎学研究， 无论是通过五线谱、汉语拼音来描绘改编作品，还是结合作者的改编实践活动来 论证加减法的改编策略，都有创新之处。 学位论文作者（签名）： 年 月 日 A Study on the Strategies of Adapting Shakespeare into Traditional Chinese Theater 摘要 莎士比亚改编了他人，也被他人所改编。莎士比亚的大部分戏剧都改编自历史、传 说、他人的剧作，以适应自己的戏剧范式。过去的一百余年，至少有十七部莎士比亚戏 剧被改编为中国戏曲，简称莎戏曲。有些中国理论家根据戏曲对莎剧的接受模式，把这 些作品归纳为中国化、西洋化或者英文原版式的改编，而西方理论家则根据改编后的作 品在语言文化上对原著的偏离程度，划分为改编、挪用、征用、变通与衍生等。改编存 在着不忠实于原著的风险，产生了著名的拜伦式诘问：改编后的作品还是莎士比亚吗？ 与翻译相比，跨文化剧场改编在语言文化传递后会更加偏离原文。如果采用西洋化 的改编方法，固然可以避免与原文文化相违和，但有可能违背在地戏曲的本体特征。在 跨文化剧场实践中，存在着文化他者，需要双方进行沟通与交换。 而在戏曲剧种内化的过程中，曲文（唱念）需要与为之服务的音乐沟通，音乐变通 不能伤害旋律节奏，曲文变通也要遵守诗词格律。戏曲虽然演绎类型人物，舞蹈（做打） 要服从刻画人物的需要，莎戏曲的文本产生跨行当演出，以尽量减少偏离。 莎戏曲要吸引观众，还必须充满机趣。运用机趣可以生动的改编莎士比亚丰富而细 腻的语言，使原文的趣味在文字文本与视觉文本上得到转换。然而，机趣的定义含混， 与戏剧冲突没有关联或者关联不大，因而与西方戏剧冲突理论发生矛盾冲突。机趣可能 使莎戏曲进一步偏离莎士比亚。 由于忠实于原著的理论在改编实践中不可行，因而提出加减法作为改编策略。对原 文做减法是要为戏曲做加法，给唱、念、做、打腾出空间，甚至增加人物、语言与视觉 文本，改变结构，符合目的语文化与戏曲的本体要求。加减法还有助于理解改编对原作 的偏离和对戏曲的偏离。改编对戏曲的加法做得越多就越靠近戏曲，越可能偏离莎剧； 对莎士比亚的减法做得越多，改编作品中的莎士比亚成分就越少，反之亦然。加减法通 常是同时发生的。所以，回答拜伦式的诘问——莎士比亚改编后是否还是莎士比亚戏剧 ——取决于改编策略与改编后的作品对原文的偏离程度。同时，莎戏曲在多大程度上是 戏曲也取决于改编作品偏离戏曲的程度。莎戏曲并非莎士比亚与戏曲的拼贴，而是汇集 了双方优点的有机融合。 关键词：莎士比亚、戏曲、改编策略、加减法、偏离 I Doctorial Dissertation of Wuhan University II A Study on the Strategies of Adapting Shakespeare into Traditional Chinese Theater ABSTRACT Shakespeare adapts and is adapted. Most of his plays are adapted from historical chronicles, legendary accounts and someone else’s plays to suit his own theatrical paradigm. Over the last hundred years, at least seventeen of his plays have been adapted into traditional or indigenous Chinese theater, Shake-xiqu for short. Some Chinese theorists tend to classify them in three adaptation styles, namely, the Chinese, the Occidental, and the English-English, based on how traditional Chinese theater receives them. On the other hand, some Western theorists tend to classify them into adaptation, appropriation, expropriation, inspiration and spin-off, depending how much the adaptation deviates from Shakespeare linguistically and culturally. In view of the risky infidelity to the original, there is a famous Byronc question: Is the adaptation of Shakespeare still Shakespeare? In comparison with translation, transcultural theater may deviate the adaptation, to a larger extent, from the original in language and culture transfers. While the Occidental style may help to avoid incongruity in culture, the adaptation may run into conflict with the theatrical idioms of the genre. In a transcultural theater, the cultural other is there for both sides to negotiate and trade-off. In the intra-genre process, the libretto for singing and chanting has to negotiate with the music that serves it. Music may have to vary without distorting the pattern of melody and rhythm. The librettist’s licence may be confined to prosody. The choreography for dancing and acrobatics should help to portray the characters although traditional Chinese theater is peopled with codified role types, hence cross-role-type performance in Shake-xiqu to curb deviation. For Shake-xiqu to entertain the patron, there has to be jiqu or wit and fun, the application of which helps to adapt Shakespeare’s language nuances vividly into a verbal and visual text. However, jiqu is a loosely defined term. It may have little or nothing to do with the conflict in the play and therefore runs into conflict with the Western drama concept of conflict. It is possible for Shake-xiqu to further deviate from Shakespeare. III Doctorial Dissertation of Wuhan University As fidelity criticism does not work in the adaptation practice, the strategy of addition and subtraction is proposed. Subtraction applies to the source text which must be cut or trimmed to make room for singing, chanting, dancing and acrobatics, all of which are required by traditional Chinese theater. On the other hand, addition applies when a new role or new verbal and visual text appears, or even the structure of the play alters in order to satisfy the cultural or theatrical requirement of the target text. The strategy of addition and subtraction also helps to understand the deviation of Shake-xiqu from Shakespeare and traditional Chinese theater respectively. When the addition of xiqu elements occurs, the adaptation will stay close to traditional Chinese theater and may deviate from Shakespeare. The more the original is subtracted, the less Shakespeare there will be in the adaptation, and vice versa. Usually addition and subtraction will happen at the same time. Thus the Byronic question whether the adaptation is still Shakespeare is answered according to the deviation from the bard. Similarly, to what extent Shake-xiqu is traditional Chinese theater depends on how much the adaptation deviates from xiqu. It is not a collage of Shakespeare and xiqu but an integration of their merits. Key Words: Shakespeare, traditional Chinese theater, adaptation strategy, addition and subtraction, deviation IV A Study on the Strategies of Adapting Shakespeare into Traditional Chinese Theater Contents 摘要------------------------------------------------------------------------------------------------------Ⅰ ABSTRACT ---------------------------------------------------------------------------------------------- Ⅲ Introduction---------------------------------------------------------------------------------------------1 0.1 Canon of the Adaptation---------------------------------------------------------------------- 4 0.2 Three Phases of the Adaptation-------------------------------------------------------------- 7 0.3 Literature Review-----------------------------------------------------------------------------13 0.4 Structure of the Dissertation---------------------------------------------------------------- 18 Chapter One Language and Culture Transfers: A Case Study of Sinicized Macbeths ------------------------------------------------------------------------------------------------20 1.1 Language Transfer----------------------------------------------------------------------------22 1.2 Culture Transfer------------------------------------------------------------------------------ 34 1.2.1 Setting of the Time and Place--------------------------------------------------------- 35 1.2.2 Characterization-------------------------------------------------------------------------37 1.3 Cultural Other--------------------------------------------------------------------------------- 40 Chapter Two Conflict with Music and Characterization: A Case Study of Hanju Taming of the Shrew------------------------------------------------------------------------ 43 2.1 Conflict of the Prelude’s Libretto and Music---------------------------------------------46 2.2 Inequality Between Dramatis Personae and Codified Role-Type Performers-------50 2.3 Rewriting and Re-interpreting with Feedback Concerns------------------------------- 56 Chapter Three Jiqu or Wit and Fun in Shake-xiqu-------------------------------------------61 3.1 Jiqu in Adapting Language Nuances------------------------------------------------------ 64 3.2 Jiqu in Choreographic Adaptation--------------------------------------------------------- 68 3.3 Jiqu’s Conflict with Shakespeare---------------------------------------------------------- 71 Chapter Four Addition and Subtraction: From Adaptation to Evaluation------------- 75 4.1 Three Librettos of Lear’s Opening Speech----------------------------------------------- 75 4.1.1 Sixian Opera Version-------------------------------------------------------------------77 Doctorial Dissertation of Wuhan University 4.1.2 Peking Opera Version------------------------------------------------------------------ 82 4.1.3 Hanju Opera Version-------------------------------------------------------------------85 4.2 Characterization and Structure------------------------------------------------------------- 88 4.3 Shake-xiqu’s Deviation and Its Evaluation----------------------------------------------- 90 Conclusion--------------------------------------------------------------------------------------------- 94 Bibliography-------------------------------------------------------------------------------------------97 Videos------------------------------------------------------------------------------------------------- 102 Internet Sources-------------------------------------------------------------------------------------103 Glossary-----------------------------------------------------------------------------------------------104 攻博期间发表的科研成果目录-------------------------------------------------------------------114 鸣谢----------------------------------------------------------------------------------------------------