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題名:中土化《馬克白》:四個演出研究
作者:陳俐如
作者(外文):CHEN, LI-RU
校院名稱:輔仁大學
系所名稱:跨文化研究所比較文學博士班
指導教授:彭鏡禧
學位類別:博士
出版日期:2017
主題關鍵詞:跨文化莎劇女子秉性和角色超自然/占卜信仰《馬克白》馬克白夫人司命姊妹The belief of supernatural powers/divinationIntercultural ShakespeareLady MacbethMacbethThe Weird SistersWomen’s nature and role
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本論文從華人文化視角分析四齣改編成中文的莎劇《馬克白》(Macbeth),聚焦以下兩個角色:馬克白夫人(Lady Macbeth)和司命姐妹(The Weird Sisters);重點研究的作品為當代傳奇劇場的《慾望城國》(1986)、上海崑劇團的《血手記》(1986)、台南人劇團的《女巫奏鳴曲——馬克白詩篇》(2003)以及《莎士比亞不插電 3:馬克白》(2007)。
本論文核心在指出某些華人藝術家形塑此劇的基礎乃是兩種深植華人心靈的思維:(一)對超自然/占卜的信仰以及對(二)女子秉性和角色的想法。此觀點或可解釋華人世界在改編莎劇時容易選擇《馬克白》的理由,也為莎學學界提供一種華人如何接受該劇的解釋。歷來評述跨文化莎劇容易陷入忠於「莎劇」或「文化正宗性」兩種迷思:本文則試圖另闢蹊徑,從標的文化一方(target culture)探索跨文化莎劇立足該文化的理由。同時,本文行文間亦加入和英國主流演出文化的比較,加深討論層次。
論文全文分為六章。導論探索學界跨文化莎劇研究現況,並針對現況提出疑問及敘述選擇本文研究對象的理由。第一章回顧兩角在原著的鋪陳,以及此劇的英國主流演出傳統。第二章說明特定華人傳統和四齣戲改編策略兩造間的相關性,所指傳統包括:超自然/占卜信仰、對女子的想像、懲惡揚善觀念。第三、四章集中討論四齣華人作品中三司命、馬克白夫人、以及負面女角的創發。第五章為結論。
就三司命而言,華人的超自然/占卜信仰成為編導理解原著情節的基礎緣由,三司命憑空預言馬克白稱王一事,有如華人劇目中超自然吉兆伴隨不凡人士的情節。因此,四齣改編中具備神秘力量的三司命,連同其它的超自然力量,合理化人物惡行的動機。乍看之下,超自然力量的加强彷彿替主角夫婦卸除責任;然而,四個作品用不同方式表達了對超自然/占卜信仰主導個人命運想法的質疑,從而表達劇中主角應為自己惡行承擔責任的事實。
就馬克白夫人而言,由於她極端脾性逾越華人對女子性格認可的想像疆界,為合理化其惡意的內心動機,華人編導或者强調超自然力量諭示的必然性,或者添加不同情節,或者強調超自然力量影響。至於在全劇後半,《慾望城國》和《血手記》基於懲惡揚善想法,添加鬼魂對她報仇索命的情節;而《女巫奏鳴曲——馬克白詩篇》和《莎士比亞不插電 3:馬克白》中,馬克白夫人表現了美夢成空的悲涼,三司命也有遠離馬克白夫人的暗示。此角改編策略流露預設女子順善的文化邏輯。
最後也同樣重要的,就傳統劇種而言,《慾望城國》和《血手記》可說創造了一種新的負面女子類型;而飾演今生馬克白夫人的演員,魏海敏和張靜嫻,勇於突破種種限制,在拓展其自身劇目的同時,亦證明優秀戲曲演員開創新局的創造力。
This thesis reconsiders four Sinicized theatrical productions of Shakespeare’s Macbeth from the perspective of Chinese culture, focusing on two characters—Lady Macbeth and the Weird Sisters. Under discussion are: Contemporary Legend Theatre’s Kingdom of Desire (Yuwang chengguo 《慾望城國》, 1986), Shanghai Kunqu Opera Troupe’s The Story of Bloody Hands (Xueshou ji《血手記》, 1986), and Tainaner Ensemble’s two renditions—The Sonata of the Witches—The Macbeth Verses (Nuwu zoumingqu——makebai shipian《女巫奏鳴曲——馬克白詩篇》, 2003) and Shakespeare Unplugged 3: Macbeth (Shashibiya buchadian 3: makebai 《莎士比亞不插電 3:馬克白》, 2007).
The core of this thesis points out that two notions embedded within the Chinese psyche—the belief of supernatural powers/divination and the conception of women’s nature and role—contribute to the way certain Chinese artists refashion the Scottish play. This also helps explain the Chinese penchant for choosing Macbeth for adaptation; in other words, it says much about the Chinese reception of this play. When appraising intercultural Shakespeares, the debate is often focused on whether the adaptation is faithful to the “Shakespearean playscript” or true to the “cultural authenticity.” This thesis, however, takes another direction and investigates how an intercultural Shakespeare stands on its own from the perspective of the target culture. In addition, a comparison with the British mainstream performing tradition is included for a more comprehensive view of Macbeth.
This thesis is divided into six chapters. The introduction explores the current scholarship concerning the intercultural Shakespeare and raises subsequent questions while explaining why these four specific productions are selected. Chapter One reviews how Lady Macbeth and the Weird Sisters are portrayed in Shakespeare’s text and provides a concise historical account of the British mainstream performing tradition of Macbeth. Chapter Two illustrates how specific Chinese cultural traditions, including the belief of supernatural powers/divination, the conception of women’s nature and role, and the ideas of poetic justice and retribution, can be connected to the ways in which these four Sinophone Macbeths are adapted. Chapter Three and Chapter Four respectively analyze the four productions. Chapter Five is the conclusion, which summarizes the main points of the thesis.
In terms of the Weird Sisters, the belief of supernatural powers/divination becomes the rationale behind these Chinese artists to make sense of Shakespeare’s plot in which the Sisters appear for no reason and prophesy Macbeth’s imperial future, a plot resembling a typical Chinese story device in which those who are bound to be extraordinary are accompanied with auspicious omens. As a result, with their mysterious powers, the Sisters’ afterlives, together with other supernatural forces, rationalize the Macbeths’ regicidal motives. On the face of it, the belief of supernatural powers/divination seems to absolve the Macbeths of responsibility for their foul deeds; however, each of these four productions, in distinctive ways, too, seems to cast doubts on the idea that the belief of supernatural powers/divination dominates one’s fate, which consequently indicates the fact that both principal protagonists should take responsibility for their enormity.
As for Lady Macbeth, because her extreme disposition transgresses the imaginative boundary of the acceptable female traits in Chinese culture, to accommodate such a character, Chinese artists employ different approaches to justify her regicidal motive as follows: to necessitate the supernatural oracle, to add a plot, and to highlight the supernatural power. In the meantime, in the second half of the play, based on two literary conventions—the emphasis of poetic justice and retribution—both Kingdom of Desire and The Story of Bloody Hands add a similar plot where ghosts avenge themselves on the character of Lady Macbeth’s equivalent by attempting to take her life. In The Sonata of the Witches—The Macbeth Verses and Shakespeare Unplugged 3: Macbeth, two of Lady Macbeth’s counterparts are bereft of hope and desolate because of the failure of their imperial dreams while suggestions of the Sisters’ leaving the Queens are shown on stage. In all, these strategies to adapt Lady Macbeth suggest the cultural logic that women are docile and benevolent by nature.
Last but not least, as far as traditional theatre is concerned, we can say that Kingdom of Desire and The Story of Bloody Hands have created a new type of negative female role. On the other hand, with the courage to transcend various restrictions, both virtuosi who play Lady Macbeth’s afterlife, Wei Haimin 魏海敏 and Zhang Jingxian 張靜嫻, not only extend their repertoires but also prove prominent xiqu performers’ innovative creativity.
引用書目

演出及影像錄影

《四郎探母》。演出。顧正秋、張昭泰。臺北:中華電視股份有限公司,2004。DVD。
《血手記》。導演。李家耀。演出。計鎮華、張靜嫻。北京:中國錄音錄象出版總社,1987。VHS。
《血手記》。導演。沈斌。演出。吳雙、余彬。海上大劇院。上海七彩戲劇頻道。電視播出。
《浣紗記.寄子、鐵冠圖.刺虎》。演出。胡錦芳。臺北:文建會,1996。VHS。
《莎士比亞不插電 3:馬克白》。導演。呂柏伸。2007。承蒙台南人劇團惠允筆者於劇團借閱該團錄製演出影像,謹此致謝。
《女巫奏鳴曲:馬克白詩篇》。導演。呂柏伸。2003。承蒙台南人劇團惠允筆者於劇團借閱該團錄製演出影像,謹此致謝。
《慾望城國》。導演。演出。吳興國、魏海敏。1996。臺北:當代傳奇劇場,2006。 DVD。
《當代傳奇30《慾望城國》》。導演。演出。吳興國、魏海敏。2016年12月23日。臺灣戲曲中心大表演廳。
《爛柯山.痴夢;擋馬;琵琶記.書館》。演出。梁谷音、張銘榮。臺北:文建會,1996。VHS。
A Performance of Macbeth. Perf. Ian McKellen, and Judi Dench. Prod. Trevor Nunn. 1976. London: Fremantle Home Entertainment, 2004. DVD.
Macbeth. Dir. Goold, Rupert. Perf. Patrick Stewart, and Kate Fleetwood. Arlington: Distributed by PBS Distribution, 2010. DVD.
Macbeth. Dir. Orson Welles. Perf. Orson Welles, and Jeannette Nolan. 1948. Los Angeles: Republic Pictures Home Video, 1992. VHS.
Macbeth. Dir. Roman Polanski. Perf. Jon Finch, and Francesca Annis. 1971. Burbank: Columbia Tristar Home Entertainment, 2002. DVD.
Manchester International Festival 2013 Macbeth. Dir. Kenneth Branagh and Rob Ashford. Perf. Kenneth Branagh and Alex Kingston. National Theatre Live. Arts Council England, 20 Jul. 2013. Web. 17 Jun. 2014.
NINAGAWA Macbeth. Dir. Ninagawa Yukio. Perf. Hira Mikijiro, and Kurihara Komaki. Tokyo: Toho Co. 1985. VHS.
Throne of Blood (kumonosu-jō). Dir. Kurosawa Akira. 1957. Taipei: Buddha video, 2004. DVD. 

訪問

呂柏伸。個人訪談。2013年8月13日。
吳興國。〈吳興國訪談〉。陳芳訪問。2013年8月27日。DVD。此次訪談錄影係陳芳教授國科會計劃「表演的異化:跨文化改編戲曲演員的複數身體」(NSC 102-2410-H-003-122)所做系列訪談之一,其研究成果曾發表論文〈表演重塑:臺灣「莎戲曲」演員的身體異化〉,登載於《戲劇學刊》第二十期,頁39-67。承蒙陳芳教授惠允借閱,特此誌謝。
吳興國。〈訪談吳興國導演稿〉。馬汀尼、王婉容、劉湘湘訪問。《七0年代後臺灣莎劇演出當代詮釋之硏究》。臺北:國藝會,1999。42-52。
洪善群。〈訪談洪善群導演〉。馬汀尼、王婉容、劉湘湘訪問。《七0年代後臺灣莎劇演出當代詮釋之硏究》。馬汀尼主持。臺北:國藝會,1999。19-25。
朗宓榭(Michael Lackner)。〈朗宓榭談中西方命理學〉。黃曉峰訪問。《東方早報.上海書評》。2014年10月12日。網路。2014年10月15日。
張靜嫻。〈成功的背後——張靜嫻訪談〉 伊然訪問。《上海戲劇》12(2001):18-22。
魏海敏。〈魏海敏訪談〉。陳芳訪問。2013年8月12日。DVD。此次訪談錄影係陳芳教授國科會計劃「表演的異化:跨文化改編戲曲演員的複數身體」(NSC 102-2410-H-003-122)所做系列訪談之一,其研究成果曾發表論文〈表演重塑:臺灣「莎戲曲」演員的身體異化〉,登載於《戲劇學刊》第二十期,頁39-67。承蒙陳芳教授惠允借閱,特此誌謝。
Zhang, Jingxian [張靜嫻]. “Appendix 6.9 Zhang, Jingxian.” By Hsieh Chia-che [謝嘉哲]. East Meets West: The Perception of Japanese and Chinese Theatres in the Context of Edinburgh International Festival Programming Policy. Diss. Queen Margaret U. 2007. 443-51. Print. Courtesy of Hsieh Chia-che.
Zhang, Mingrong [張銘榮]. “Appendix 6.10 Zhang, Mingrong.” By Hsieh Chia-che [謝嘉哲]. East Meets West: The Perception of Japanese and Chinese Theatres in the Context of Edinburgh International Festival Programming Policy. Diss. Queen Margaret U. 2007. 452-70. Print. Courtesy of Hsieh Chia-che.

演講

朗宓榭(Michael Lackner)。《「小道」有理:淺談中國命理學的人文意義及國際漢學界的相關研究》。寰宇漢學講座。國家圖書館漢學研究中心,臺北。2017年3月16日。演講。

中文書目

古籍類

(魏)王弼注,(唐)孔穎達疏。《周易正義》。《十三經注疏(整理本)》。李學勤主編。北京:北京大學,2000。
(漢)毛亨傳,(漢)鄭玄箋,(唐)孔穎達疏。《毛詩正義》。《十三經注疏(整理本)》。李學勤主編。北京:北京大學,2000。
(漢)孔穎達傳,(唐)孔穎達疏。《尚書正義》。《十三經注疏(整理本)》。李學勤主編。北京:北京大學,2000。
(漢)鄭玄注,(唐)孔穎達疏。《禮記正義》。《十三經注疏(整理本)》。李學勤主編。北京:北京大學,2000。
(漢)董仲舒。《春秋繁露新注》。曾振宇、傅永聚注。北京:商務印書館,2010。
(明)湯顯祖。〈紫釵記〉。《六十種曲》。(明)毛晉編。第四冊。北京:中華,1958。1-162。
(明)湯顯祖。〈南柯記〉。《六十種曲》。(明)毛晉編。第四冊。北京:
中華,1958。1-138。
(明)臧晉叔編。《元曲選》。重排版。北京:中華,1989。
(明)顧起元。〈國初榜文〉。《客座贅語十卷》。《北京圖書館古籍珍本叢刊》。第66卷。北京:書目文獻,1988。609-820。
(清)孔尚任。《桃花扇》。陳美林、皋于厚校注。臺北:三民,2000。
(清)錢德蒼編選。《綴白裘》。汪協如點校。第一版。北京:中華,2005。
毛子水註譯,王雲五主編。《論語今註今譯》。臺北:臺灣商務印書館,1975。
司馬朝軍編撰。《四庫全書總目精華錄》。武昌:武漢大學出版社,2008。
宋天正註譯,楊亮功校訂,王雲五主編。《大學今註今譯》。臺北:臺灣商務印書館,1977。

報紙類

坪內逍遙(Tsubouchi Shoyo)。〈疑雲(奧賽羅)的批評〉。實驗小劇團譯。《台灣新生報》。2月1日。1949:第5版。
〈「華岡藝展」今起五天演莎翁名劇「馬克白」〉。《中央日報》。5月31日。1972:第6版。

一般書目

文崇一。〈中國人的富貴與命運〉。《中國人:觀念與行為》。文崇一、蕭新煌主編。臺北:巨流,1988。25-42。
王安祈。《性別、政治與京劇表演文化》。臺北:國立台灣大學出版中心,2011。new window
---。《為京劇表演體系發聲》。臺北:國家,2006。
---。《臺灣京劇五十年》。第一卷。宜蘭:傳藝中心,2002。
---。《當代戲曲:附劇本選》。臺北:三民,2002。
---。《傳統戲曲的現代表現》。臺北:裏仁,1996。
王德威。〈潘金蓮、賽金花、尹雪豔——中國小說禍水造型的演變〉。《從劉鶚到王禎和:中國現代寫實小說散論》。臺北:時報,1986。77-79。
王溢嘉。《中國人的心靈圖譜:命運》。桂林:廣西師範大學,2007。
王永恩。《明末清初戲曲作品中的女性形象研究》。北京:文化藝術,2008。
王慰誠。〈導演的話:我怎樣處理莎翁的戲劇〉。《《仲夏夜之夢》節目册》。臺北:中國文化學院,1966。台灣莎士比亞資料庫。網路。2013年9月1日。
石婉舜。《搬演「臺灣」:日治時期臺灣的劇場、現代化與主體型構(1895-1945)》。博士論文。國立北藝術大學,2010。
朱生豪。〈譯者序〉。《馬克白》。莎士比亞著。朱生豪譯。臺北:世界,1996。1-2。
「北邙」。《辭海》。夏征農主編。第一冊。臺北:東華,1992。589。
杜芳琴。〈中國歷代女主與女主政治略論〉。《中國婦女史論集》。鮑家麟編。第四集。臺北:稻鄉,1995。35-60。
余漢東編。《中國戲曲表演藝術辭典》。北京:中國戲劇,2006。
余英時。《論天人之際:中國古代思想起源試探》。臺北:聯經,2014。new window
沈斌。〈是崑劇是莎劇:重排《血手記》的體驗〉。《上海戲劇》2(2008):10-11。
沈玲玲。《台南人劇團經營、發展與作品評析之研究:1987-2004》。碩士論文。國立成功大學,2004。
宋兆麟。《巫與巫術》。成都:四川民族,1989。
呂訴上。《臺灣電影戲劇史》。臺北:銀華,1961。new window
李慧敏主編、當代傳奇劇場編修。〈慾望城國劇本〉。《中外文學》15.11(1987): 52-76。
李帆、朗宓榭。〈近代中國知識轉型視野下的“命學”〉。《社會科學》6(2012):147-154。
李皇良。《李曼瑰》。臺北:國立臺北藝術大學,2003。
李家耀。〈永葆青春的大樹〉。《佐臨硏究》。上海藝術硏究所話劇室編。北京:中國戲劇,1990。278-15。
李進。〈三十載春秋只爭朝夕——記張靜嫻〉。《上海戲劇》5(1989):13-15。
李康年。《王生善》。文建會,2004。
李偉民。《中國莎士比亞批評史》。北京:中國戲劇,2006。
李武忠。〈附錄三:《凱薩大帝》觀後〉。重印於《戲劇泛論》。王生善。臺北:華岡,1968。96-100。
李憲彰。《讖的形式及其傳播研究》。博士論文。國立花蓮教育大學。2009。new window
李澤厚。《中國古代思想史論》。第二版。臺北:三民,2012。
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English Source

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