摘要
戏曲在对异国文艺作品改编的时候难免出现表象与内里分裂的情况,传统与异国文化间的通约性,即是传统戏曲在对异国作品的改编过程中,二者文化间的等于、约等于或不等于现象。以浙江小百花越剧团的《春琴传》为例结合一些热门的改编戏曲,从舞美的解构与重构、“悲”剧观、文化通约性三方面探究异国改编作品的通约性。
In the process of adapting foreign literary works,opera inevitably splits between the surface and the interior.Therefore,this paper proposes“the generality between traditional and foreign cultures”,which means the equivalence,approximate equivalence or non-equivalence between the two cultures in the process of adapting traditional opera to foreign works.In this paper,we will take The Legend of Chunqin by Zhejiang Xiaobaihua Yueju Troupe as an example and combine it with some popular adaptations of opera,and explore the commensurability of foreign adaptations from three aspects:the deconstruction and reconstruction of choreography,the concept of“sad”drama,and cultural commensurability.
出处
《浙江艺术职业学院学报》
2023年第3期55-60,共6页
Journal of Zhejiang Vocational Academy of Art
基金
国家社科基金项目“‘十七年’京剧传统剧目整理改编研究”阶段性成果。(项目编号:21BZW158)。
关键词
《春琴传》
《春琴抄》
通约性
越剧改编
The Legend of Chunqin
A Portrait of Shunkin
commensurability
Yue Opera adaptation
