摘要
意大利戏剧家卡尔洛·戈齐和德国戏剧家席勒以文人笔法完成了《图兰朵》从民间故事向戏剧的早期改编,将戏剧性转向人物的内心冲突;普契尼则通过对图兰朵行动动机的重置和对“柳儿”这一角色的塑造,将这个故事彻底悲剧化了——“爱情”被呈现为命运的主题;张艺谋因其对东方形式美学的依赖导致其《图兰朵》形式大于内容,从中我们已经能够看出张艺谋在其后的电影作品中常用的套路,这是他的成功,也是他的失败;魏明伦的川剧《中国公主杜兰朵》既保留了故事的基本结构,又巧妙地把中国的哲学、伦理学、美学观念植入其中,谱写了一出中国版浮士德的“美的悲剧”。电影《图兰朵:魔咒缘起》的失败并不能证明《图兰朵》这一题材已经过时。恰恰相反,《图兰朵》的现代改编才刚刚起步。未来的《图兰朵》改编将会涉及更加现实的问题,并将因此成为一种新的“世界主义文学”的契机。
Italian dramatist Carlo Gozzi and German dramatist Schiller completed the early adaptation of Turandot from folk story to drama with literati writing skills,turning the drama to the inner conflict of the characters;Puccini completely tragically changed the story by resetting Turandot's action motivation and shaping the role of Liu Er—love was presented as the theme of fate.Zhang Yimou's dependence on oriental formal aesthetics leads to the fact that the form of his Turandot is greater than the content.From here we can see the routine commonly used by Zhang Yimou in his subsequent film works,which is both his success and his failure.Wei Minglun's Sichuan Opera Chinese Princess Du Landuo not only retains the basic structure of the story,but also skillfully embeds Chinese philosophy,ethics and aesthetic concepts into it,and composes a Chinese version of Faust's tragedy of beauty.The failure of the film the Curse of Turandot does not prove that the theme of Turandot is outdated.On the contrary,the modern adaptation of Turandot has just begun.The future adaptation of Turandot will involve more sensitive practical issues and will therefore become an opportunity for a new cosmopolitan literature.
出处
《浙江艺术职业学院学报》
2022年第3期74-82,共9页
Journal of Zhejiang Vocational Academy of Art
基金
东华理工大学博士科研启动基金项目“影像-人类学的审美重构”(项目编号:DHBK2020022),“一带一路”战略背景下的《牡丹亭》与《图兰朵》比较研究(项目编号:22SK02)研究成果之一。
