本文借鑒華語語系研究觀點切入,分析李碧華小說《青蛇》(1986)、徐克電影《青蛇》(1993),以及田沁鑫話劇(2013),探討三者如何在特定政治時空之中,透過「新編」《白蛇傳》產生地方化的史觀。首先,本文分析李碧華小說《青蛇》如何挪用《白蛇傳》的古典故事,建構香港現代風土。其次,從徐克電影改編的文化隱喻和影視傳播,本文嘗試凸顯香港介於「中、西」之間所建構的亞際影響力與族裔認同。最後在新中國的現代化歷程中,詮釋田沁鑫話劇如何透過對《青蛇》的再次新編,重新賦予「華」另一層國族意義。以《青蛇》的三次新編,分層說明當代「故事新編」反映的既跨地域,又不失地方特質的非線性史觀。
This study analyzes three contemporary remakes of classical story "The Legend of White Snake": Lilian Lee Pik-Wah's novel Green Snake (1986), Tsui Hark's film Green Snake (1993), and Tian Qinxin's play (2013) and, borrowing the critical methods of Sinophone studies, shows how these three "story rewritings" (Gushi Xinbian) reflect localized historical views in specific political situations. This essay first elucidates how Lilian Lee Pik-Wah's Green Snake constructed modern Hong Kong landscape by remaking the classical story. Secondly, by investigating the cultural metaphors and cinematic receptions of Tsui Hark's film adaption of Lee's novel, this essay reveals its Inter-Asian influence and construction of Hong Kong's ethnic identities between "Chinese and the West". Finally, in modernized new China, this essay elaborates how Tian Qinxin's stage adaption of Green Snake produces another sense of "Chineseness", this time wired with the rise of the nation-state China. By Looking into three rewritings and adaptations of "the Legend of White Snake" and Green Snake, it shoes the power of modern story rewritings and cross-regional, local, non-linear historical perspectives they reflect.