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徽剧《惊魂记》为近年来以中国传统戏曲的虚拟性、写意性、程式化的唱、念、做、打表现手法改编莎士比亚悲剧《麦克白》的一部成功作品。《惊魂记》在充分挖掘、外化人物心理的基础上,在保持原作悲剧精神的大原则中,以徽剧擅长夸张、变形的抒情与叙事方式表现人物内心的煎熬,以徽剧特有的表现技艺外化人物的内心矛盾,通过浓郁的诗意呈现,以多样的叙述媒介为载体,以徽剧的呈现方式为本体,对原作中人性中的恶给出了伦理和美学层面的批判。《惊魂记》成功地以徽剧语言讲好了世界的莎剧,它的创排是中国莎学的重要收获之一。
The shock drama of the Hui drama is a successful work adapted by Shakespeare’s tragedy “Macbeth” with the virtuality, freehandness, stylized singing, reading, doing and performance of Chinese traditional opera in recent years. On the basis of fully excavating and externalizing the psychology of the characters, in the great principle of maintaining the tragedy of the original, Huishanjian expresses the inner torment of the characters with the exaggerated and distorted lyricism and narrative style, The inner contradictions of the characters of artistic expatiation are presented through rich poetic expression, diversified narrative media as the carrier, and the presentation of the Hui drama as the noumenon, which give the ethical and aesthetic critique to the evil in the original works. The Book of Shakespeare succeeded in speaking Shakespeare of the world in the style of Hui Opera. The creation of Shakespeare plays an important role in the Chinese scholar learning.