老哈姆雷特鬼魂的中國演譯: 跨文化劇場的潛力與限制

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研究生：	馮雅倫 Alan Fong
論文名稱：	老哈姆雷特鬼魂的中國演譯: 跨文化劇場的潛力與限制 Old Hamlet's Ghost in Chinese Renditions: Potential and Limitation of Intercultural Theatre in Two Sites
指導教授：	柏逸嘉 Guy Beauregard 雷碧琦 Beatrice Lei Biqi
口試委員:
學位類別：	碩士 Master
系所名稱：	人文社會學院 - 外國語文學系 Foreign Languages and Literature
論文出版年：	2008
畢業學年度：	96
語文別：	英文
論文頁數：	100
中文關鍵詞：	哈姆雷特、跨文化劇場、王子復仇記、京劇、越劇、莎士比亞在中國
外文關鍵詞：	Intercultural Theatre, Hamlet, Peking Opera, Yue Opera, Shakespeare in China
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The ghost of Old Hamlet is one of the most important characters in Hamlet. The ambiguity of the ghost’s nature as an honest ghost or a devil in disguise creates a profound sense of uncertainty that intensifies the complexity of Hamlet’s dilemma. A number of Shakespeareans scholars have argued that the significance of the Hamlet ghost is lost to the contemporary audience due to the disbelief of ghost in the modern world. Such loss can be recompensed when Shakespeare is transplanted to traditional Chinese theatre.
This thesis consider the two Chinese opera adaptations of Hamlet, respectively by Taipei’s Contemporary Legend Theatre in 1989 and the Shanghai Yue Opera Company in 1994. The two adaptations presented the ghosts conventionally as the spirits of honourable ancestors, recovering the ghost’s significance. This shows the potential of intercultural theatre: loss or ignored elements of the source theatre could be revisited and revitalized through the cultural lenses of the target theatre. However, these renditions failed to address the ghost’s uncertain nature, and hence diminished the complexity of the prince’s struggle.
The two adaptations point to a problem in intercultural theatre: theorists and practitioners tend to avoid interchange of cultural perspectives. For many theorists, the focus is the actor’s body. Studying of the two Chinese renditions of Hamlet provides an alternative point of departure towards the theory of intercultural exchange in theatre.

哈姆雷特王的鬼魂是莎劇《王子復仇記》中最重要的角色之一。劇中鬼魂的本質為真實的王魂或是魔鬼化身的含糊不清特性為此劇帶來深刻的不確定感，這不確定感大大加強了哈姆雷特復仇行動中在心理上進退兩難的複雜性。多個莎學者認為由於現代世界已失去對鬼魂的信仰，哈姆雷特王魂在劇中的重要性也在現代演出中消失。以中國戲劇演釋莎士比亞劇的方式可以重視這消失的王魂重要性。

本論文以兩部中國戲劇改編《王子復仇記》的作品為研究重點，其分別為1989年台北當代傳奇劇團以及1994年上海越劇院的演出。此兩部作品藉中國傳統文代中的祖靈敬拜去重現王魂的重要性。而這此王魂重要性的重現也代表著跨文代劇場的潛力：在改編原端文化中失去或被忽視的元素有可以在改編者的文化中被重現或重新撿視。然而，這兩部作品雖然成功重現王魂的重要性，它們都沒有著墨於其本質的不確定性，而兩作品中王子的心理複雜性也就被降低了。

這兩部王子復仇記的改編都指出了跨文化劇場的問題，也就是跨文化劇場藝術家和理論家都有避開文化觀點的交流。大部份跨文化劇場理論都集中於演員的身體上。本論文希望藉研究這兩部中國《王子復仇記》去提出一個關注更廣泛文化交流的跨文化劇場理論。

Chapter One:
I.  Introduction......................................1
II. Background........................................1
III.Methodology and Objectives........................4
IV. Chapter Outline ..................................6
Chapter Two: The Ghost in Shakespeare’s Hamlet......17
I.  Introduction.....................................17
II. The Ghost in Hamlet..............................18
III.Ghosts in Late Elizabethan England...............30
IV. The Ghost’s Omission at the End of Hamlet and the Dramatic Effect of its Uncertainty...................49
V.  Ghosts in the Modern World.......................55
Chapter Three: Two Chinese Renditions................59
I.Introduction.......................................59
II. The 1989 Contemporary Legend Theatre Adaptation..64
III.The 1994 Shanghai Yueju Theatre Adaptation.......70
IV. The Ghosts in Two Adaptations....................73
V. Conclusion........................................76
Chapter Four: Intercultural Theatre: Potentials and Possibilities........................................80
I.   History of Intercultural Theatre................80
II.  Current Theories of Intercultural Theatre.......85
III. Potential and Limitation........................89
Chapter Five:
I.Conclusion.........................................93
Appendix A...........................................95
Appendix B...........................................96
Works Cited..........................................97

                                

Works Cited
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Video Sources
Hamlet By Brook/Brook By Brook. Dir. Peter Brook. DVD. Chicago: Facets Video, 1995.
Wangzi fuchou ji. Dir. Wu Hsing-kuo. The Contemporary Legend Theatre. 1989. DVD. National Theater and the National Concert Hall Performance Arts Library, 1989.
Wangzi fuchou ji. Dir. Su Leci. Shanghai Yueju Theatre. 1994. VCD. Shanghai Video Publishing, 1994.

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