改寫童話的後迪士尼意義《史瑞克》

The Post-Disneyian Meaning of Re-Written Fairy Tales

鄧名韻(Deng Ming-Yung)

《兒童文學學刊》 20期 (2009/11) Pp. 35-63

https://doi.org/10.6739/ttchl.200911_(20).0002

摘要

沒有小孩子不愛聽故事，而〈灰姑娘〉、〈小紅帽〉、〈美女與野獸〉等經典童話也幾乎是所有小孩子的共同記憶。然而與其他經典文學不同的是，經典童話很少是單一文本，傳世不變的。從歐洲到中國，灰姑娘就變成了葉限；從法國到德國，小紅帽也從被野狼吃掉的下場轉變成得到獵人搭救甚至和祖母合力殺死野狼的結局。無論是共時或是異時研究，童話史就是一部詭譎多變的改寫史。進入後現代的文化產業之後，改寫的面相更加複雜。從出版商、編者、插畫家、說書人、動畫編劇到看書、聽故事或看動畫的大人或小孩，經典童話不斷地被透過萬花筒來重新觀看。夢工廠近年來推出的《史瑞克》系列，可以說是繼迪士尼動畫之後最成功的童話商品。從1936年迪士尼的第一部長篇動畫《白雪公主》到2001年《史瑞克》首集上映，改寫很明顯地呈現新的面貌。首先，《史瑞克》以諧擬貫穿整個劇情，從威廉‧史塔克（William Steig）的原著、各個經典童話、到迪士尼的經典動畫形象都成了被諧擬、被批判的文本。熟悉的童話情節原型、習以為常的英雄美女造型在受到去熟悉化的扭曲後，諧擬的趣味效果得以浮現出來。《史瑞克》企圖以對話式言說製造嘉年華式喧鬧的文本效果，然而本質上未能卸除文化商品的包裝，超現實的模擬現象使得它與傳統文學中的諧擬文本大相逕庭。本研究企圖以後現代觀點結合兒童文化產業理論，探討《史瑞克》系列所造成的新的改寫童話模式。

關鍵字

《史瑞克》 ； 動畫 ； 改寫童話 ； 顛覆

並列摘要

There are no children who don't like to listen to stories. Classic fairy tales, such as ＂Cinderella＂ Little Red Ridinghood,＂ and ＂Beauty and the Beast,＂ are nearly the ＂collected＂ memory of all children. But different from other classics, fairy tales are not, in Angela Carter's words, changeless ＂unique one-offs.＂ Going from Europe to China, Cinderella is changed into Yeh-hsien; when relocated from France to Germany, Little Red Ridinghood is able to be saved by a huntsman and even kill the wolf with her grandmother, and in this way she escapes from the tragic ending of being gobbled up by the wolf Thus, the history of fairy tales is actually a history of re-writing. After having entered into the cultural industry since Disney, re-writing has become more and more complicated. People involved include publishers, editors, illustrators, storytellers, playwrights of animation and also adults or children who read and listen to tales or see an animation. Again and again, classic fairy tales are re-constructed in a kaleidoscopic way. Shrek series, distributed by Dream works, is the most successful newly-constructed commodity about fairy tales in recent years. It seems that Dream works has replaced Disney to dominate the whole cultural industry. From Disney's first animation, Snow White, in 1936 to the release of Shrek in 2001, the way of rewriting is obviously transformed. First, Shrek uses parody to revive old tales. William Steig's Shrek!, classic fairy tales and also Disney's classic animations are parodied and criticized. In this way, lots of classic storylines in fairy tales and archetypal images of handsome princes and beauties are de-familiarized and the funny effect of parody is shown. Shrek aims at a carnivalesque visual text with a dialogic discourse, but packaged up as a cultural commodity, it might as well be an example of ＂simulation＂ in a hyper-realistic world. This study would like to apply the theories of postmodernism to have a clear view of the new rewriting mode of fairy tales made by Shrek series.

並列關鍵字

Shrek ； Animation ； Re-written Fairy Tales ； Subversion