《杜蘭朵》三劇本中的人物刻畫

An Comparative Analysis Ofthe Character of the Three Editions of Princess Durandot's Comparison-Opera、Su-Chan Opera and Hon-Nan Opera

栗子菁(Tzu-Ching Li)

《復興崗學報》 89期 (2007/06) Pp. 439-460

https://doi.org/10.29857/FHKAJ.200706.0019

摘要

自義大利浦契尼創作的〈杜蘭朵公主〉於一九二六年四月廿五日在義大利米蘭斯卡拉劇院首演以來，中國人便對此齣歌劇情有獨鍾，最主要的原因，當然是該劇背景以中國為背景，劇中不時有彷如中國風味的人、事、物鋪陳其中，大大拉近觀眾時空欣賞的距離。尤其〈杜蘭朵公主〉在一九九八年以北京紫禁城為演出舞臺，由張藝謀成功導演，獲得國際人士熱烈好評後，〈杜蘭朵公主〉一時成為家絃戶誦的名詞，劇中茉莉花優雅浪漫的弦律與劇中殘酷無情的杜蘭朵公主成為張力極大的對比，讓觀眾印象深刻，對中國觀眾而言，劇作家如此的安排確實仙人玩味、好奇。
由於〈杜蘭朵公主〉的魅力非凡，引起大陸川劇團的注意並以歌劇內容為底本加以改編，融合川劇的表演特色匯整成功，並將成果帶到中外各地巡迴表演，亦獲各方佳評如潮。臺灣國光劇團有鑑於對岸川劇改編成功的案例，亦有弖製作具本地特色的〈杜蘭朵公主〉以饗臺灣觀眾，遂於二千年年度大戲時由國光劇團豫劇隊名角擔綱演出，作為告別二十世紀的代表作，在中正紀念堂國家戲劇院公演期間，精采的演出獲得國內觀眾的熱烈回饋，使歌劇改編成地方戲曲跨出成功的一步。
本論文探討重點即在於〈杜蘭朵公主〉在歌劇、川劇、豫劇三齣戲中，於情節、人物、人性的表現上有何不同？各版本劇作家的著眼點何在？戲劇衝突的表現又有何特點？以明在不同的文化背景及風土民情下，各家版本的呈現，在舞臺表演上帶給觀眾的究竟是什麼演出效果。

關鍵字

杜蘭朵公主 ； 浦契尼 ； 川劇 ； 豫劇 ； 歌劇

並列摘要

This research aims to compare Puccini's opera ”Torandot” with Chinese Torandot stories in Hon-Nan opera and Su-Chan opera. Puccini's ”Torandot”, his last masterpiece was mostly based on the Italian dramatist Carlo Gozzi's play, written in the 18th centry. Puccini's ”Torandot”, which salutes the power of love and forgiveness, is replete with climaxes, choruses and pageantry.
Puccini's Turandot was first performed in Milan Scalla theatre on April 25. 1926, two years after his death. Then in1998, the famous Chinese movie director, Chang yi-mou, successfully put it onto the Chinese stage in Peking, almost exactly as it was, and caused a great sensation, which also attracted many Chinese dramatists to try to rewrite the play to mix it with more Chinese culture.
Ming-Lun, Wei for example, one of the most outstanding representative writers in contemporary China, who first tried to bring the story of ”Turandot” into Su-Chan opera: ”Princess Turandot”, is especially recommended. He made such a big change in dealing with its plots, characters, crises, conflicts, costumes, and music, much more different from those in Puccini's opera. It's interesting to compare these two dramas in their writing styles. and to see how deep effects could be caused on writers in the eastern and western world, due to the different cultural background.
National Guoguang Opera Company in Taiwan also invited Mr. Wei to re-create the play, but in the form of Hon-Nan Opera. They tried to take in the charming and distinctive characteristics of Hon-Nan opera to interpret Puccini's work in a totally different perspective. In 2000, the first show of Chinese ”Princess Turandot” in Hon-Nan opera was presented by Guoguang Opera Company on August 11th-13th. Surely the performance led to exciting discussions among the passionate audience. They do appreciate this special opera in Chinese style and its sense of humor.
The original Turandot story, according to the fable that also inspired Gozzi's play, tells about a fairy-like beautiful Chinese princess, to whom many princes are eager to propose. However they have to correctly guess the three riddles which Turandot sets. If they fail, they will lose their heads, which are hanged later the wall and shown to the public. A new vision was made in ”Princess Turandot” of Su-Chan and Hon-Nan opera, whereas there are fewer cruel scenes, and the plots are warmer and softer.

並列關鍵字

Turandot Puccini Opera