- 期刊
- OpenAccess
《洞庭湖柳毅傳書》之改編研究
Analysis of the Adaptation of Dueng Ting Lake Liu Yi Chuan Shiu
摘要
本文首先就《洞庭湖柳毅傳書》在劇情安排、人物塑造方面，探討尚仲賢如何處理小說過渡到戲曲的再創作過程；再論及唐傳奇改編成元雜劇時，劇作家所面臨到外在客觀因素，最後分析其改編之意義與特色。小說與戲曲因為立足點不同，形成改編上的變化。所謂外在客觀因素，包括文學體式方面：在語體系統上，由文言轉向白話；在敘述角度上，由第三人稱限知角度改變為第三人稱全知角度；在敘述方式上，由敘事體轉變為代言體。與傳播方式的改變：唐傳奇為文人之「沙龍」文學，至元雜劇則轉變為面向大眾的通俗文學、民間文化，因此形成改編時舞台形象的平民化、曲白的俗化與複述劇情現象，及大眾娛樂導向。至於雜劇改編上的幾個特色及面向，則包括：因應雜劇體制所作之改變，如劇情長度的控制、旦本係的發揮及侷限；及事件的重塑與重組，形成概述場景具體化及氣氛之經營；最後是創作意圖的改變，以龍女作為詮釋與關注的重心。
並列摘要
This research discusses how Shiang Zhiueng-xian invented new elements adapting from a novel to Chinese opera in terms of plot arrangement and character models in ＂Dueng Ting Lake Liu Yi Chuan Shiu＂; what objective factors a playwright faced when adapting Tang Romance for Yuan Opera; and, last, the significance and features of the adaptation. The different footholds between a novel and Chinese opera produce a variation of the adaptation. Firstly, the so-called objective factors include literary categories: from the perspective of linguistic style, it means to change from the classical Chinese to the vernacular Chinese; from the perspective of a point of view, it means to change from a third person limited viewpoint to a third person limited omniscient; from the perspective of narrative style, it means to change from a narrative prose to a spoken narrative. Secondly, objective factors also include the change of methods of propagation: it means to change from Tang Romance as ＂Salon＂ literature exclusive for scholars to Yuan Opera as popular literature or folk culture. Thus, in the course of adaptation, it tends to popularize the stage image and the dialogue, to reiterate the story, and to step toward popular entertainment. As for the features and aspects of the adaptation of Yuan Opera, they include: the changes of the adaptation responding to the system of Yuan Opera such as the control of plot size and performance and limitation of ＂dan ben xi＂; re-mold and re-organization of the events, substantiating the narrative settings and managing the atmosphere; and, ultimately, the change of artistic purposes such as the Dragon Daughter becoming the focus of interpretation and attention.