河洛歌子戲《太子復仇》與莎士比亞《哈姆雷特》之比較研究

The Comparison of the Holo Opera ＂The Prince Revenge＂ and Shakespeare's ＂Hamlet＂

高詩婷(Shih-Ting Kao)

《輔大中研所學刊》 18期 (2007/10) Pp. 133-151

https://doi.org/10.29444/JGICLDFJCU.200710.0007

摘要

歌仔戲發展至今不過百歲，是極具包容性和延展性的年輕劇種，在中西交流頻繁的現代，傳統戲曲採借外國經典劇目，企圖以跨文化的題材突破傳統劇目窠臼，因此，河洛歌子戲以莎士比亞經典悲劇《哈姆雷特》為題材，重新詮釋成《太子復仇》，其復仇框架能正好能有效發揮歌仔戲的唱腔特色－「哭調」，引領觀眾沉浸於故事悲傷衝突的情緒中，展現新的生命與樣貌。從人類共同生命經驗中比較《哈姆雷特》與《太子復仇》對於共同主體詮釋的大同小異；按戲曲之主題思想、情節結構、人物塑造三方面觀察，進而發現從《哈姆雷特》到河洛歌子戲《太子復仇》的轉換元素，乃針對「悲劇」問題理解其將中國悲劇意識融入西方悲劇，利用傳統道德引發的天命報應元素將異國題材轉換為觀眾能接受的文化情感。跨文化的題材對包容性強大的歌仔戲而言是很好的動力，在增加歌仔戲劇目的同時，亦拓展傳統戲曲的文化思維，於傳統文化與傳統戲曲上體現人文深刻思維正是現今歌仔戲趨勢。

關鍵字

歌子戲／歌仔戲 ； 太子復仇 ； 哈姆雷特 ； 跨文化題材

並列摘要

The development of the Taiwanese Opera is merely one-hundred years old, comparably young among other kinds of opera, that however owns the nature of tolerance and ductility. At the era of increasing mutual communication of east and west, very often, our traditional drama adopts plots from foreign classic plays, attempting to break traditional conventions with cross-cultural topics; therefore, the Holo Opera adopts one of the Shakespeare's classic tragedies, ＂Hamlet＂, re-explaining ＂The Prince Revenge＂. Its structure of ＂vengeance＂ can effectively develop one of the special features of Holo Opera, ＂the tune of cry＂, that guides audiences to sink in the emotion of sadness and conf1icts of the story, and out of it, new life and new appearance emerge. In terms of mankind's common life experiences, the comparison of ＂Hamlet＂ and ＂The Prince Revenge＂ shows not much difference of their common corpus. Observing their themes, the structure of plots, and the characteristics of plays, it is found out that the switch from Hamlet to the Holo Opera, ＂The Prince Revenge＂, results from the understanding of the problems in the tragedies, from which Chinese tragic conscience could be merged into the western tragedy. By the use of violation of traditional morals that causes retribution, the topic of another different culture can be converted into a cultural consensus that the local audiences can accept. Cross-cultural topics can be a very good motive power for Taiwanese Opera that owns the nature of tolerance, which can increase the functions of Taiwanese Opera as well as spread Chinese culture and folk's thought. The embodiment of humanity presented through our traditional culture and traditional drama is exactly the trend of the modern Taiwanese opera.

並列關鍵字

Taiwanese opera ； The Prince Revenge ； Hamlet ； Cross-cultural topic