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被称为“最具有艺术精神的藏语电影开篇巨作”的《喜玛拉雅王子》用后现代、后殖民手法和视角颠覆了莎翁戏剧《哈姆雷特》的“复仇”主题,着力表现“真爱与宽容”。电影揉合了中英文化、中藏文化,成功地移植了东方哲学思想、宗教文化气息,东方理念和东方神韵,让观众领略东西方文化的奇特交融。本文拟以互文性理论为切入点,解读电影《喜玛拉雅王子》对戏剧《哈姆雷特》人物关系和情节的互文与颠覆,并着重挖掘《喜玛拉雅王子》如何嫁接藏族苯教文化、汉族儒、道教文化和西方文化,全新演绎雪域王国的哈姆雷特。
The “Himalayan Prince”, known as the “Most Artistic Tibetan Film of the Year”, subverts the theme of “The Revenge” of the Shakespearean drama Hamlet with postmodernist and postcolonial tactics and perspectives , Focus on performance “true love and tolerance ”. The film combines Chinese and English culture, Tibetan culture, successfully transplanting Oriental philosophy, religious culture, Oriental philosophy and oriental charm, let the audience a taste of the exotic blend of Eastern and Western cultures. This article intends to use intertextual theory as an entry point to interpret the intertextuality and subversion of the film “The Prince of Himalayas” in the relationship and plot of the play “Hamlet” and focus on exploring how the “Himalayan Prince” grafted the Tibetan Bon religion Culture, Han Confucianism, Taoist culture and Western culture, a new interpretation of the Kingdom of Hamlet.