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題 名 | 邊緣人物到經典角色--閻婆惜的形象塑造、表演意義與情感隱喻=From the Periphery to the Spotlight: The Transformation of Yan Poxi |
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作 者 | 高禎臨; | 書刊名 | 輔仁中文學報 |
卷 期 | 49 2019.12[民108.12] |
頁 次 | 頁165-200 |
分類號 | 827.2 |
關鍵詞 | 水滸傳; 水滸記; 閻婆惜; 冥感; 情勾; 活捉; Water Margin; Shuihu ji; Yan Poxi; Minggan; |
語 文 | 中文(Chinese) |
中文摘要 | 明代許自昌《水滸記》一劇取材小說《水滸傳》而成,其中三十一〈冥感〉敷演閻婆惜被夫婿宋江殺害之後,因難忘張文遠而從陰間前來探訪情人,最後捉拿他一起同赴陰間的一段情節。閻婆惜在《水滸傳》裡原為僅僅出現兩個章回的配角人物,在《水滸記》裡一段對於張文遠的深情告白卻讓她從淫蕩婦人轉為癡情之女,也成了日後戲曲演出裡的一個經典折子:〈活捉〉。戲劇裡對於閻婆惜形象情感的細膩刻畫,並透過高度藝術性的表演身段設計,使得閻婆惜從一個襯托英雄的邊緣女性人物,發展而成戲曲舞台上的經典角色。從許自昌的劇本到近代的戲曲表演衍生出一個殊異於原著《水滸傳》的閻婆惜,這當中的演變脈絡不單單只是「文類」或「載體」的置換,也揭示了角色定位與文本主題的改變。《水滸記》裡的閻婆惜呼應了明代的至情觀,彰顯了她的情感執著與無所畏懼;而舞台上的閻婆惜則強化了其深情幽魅,或是一種帶有報復意志的瘋狂性格。這篇論文將爬梳明代小說《水滸傳》、戲曲《水滸記》到近當代戲曲演出裡如何透過文本再造與表演身段的設計,進而賦予閻婆惜殊異於小說原著的鮮明形象,在打破「經典」的同時再創「經典」,並藉著人物性格形象從文本以至舞台上的轉化,又如何滲透出從明代跨越至當代的審美價值與情感意義。 |
英文摘要 | "Minggan," Chapter 31 of Xu Zichang's play Shuihu ji, describes how Yan Poxi, having been murdered by her husband, Song Jiang, returns from beyond the grave to visit her lover, Zhang Wenyuan, and eventually forces him to return with her to the netherworld. In Water Margin Yan Poxi plays only a minor role, but in Shuihu ji she is developed into a main character who makes a declaration of her love for Zhang Wenyuan, whose emotions are depicted with much detail, and whose feminine charms are displayed with a highly artistic choreography. In this paper I discuss the modern adaptations of Water Margin and Shuihu ji, paying particular attention to the development of Yan Poxi's character as an example of how classics are reinvented. I also discuss the process of adapting a novel into a play and how the understanding of aesthetics and emotions prevalent in the Ming dynasty are made intelligible to contemporary audiences. |
本系統中英文摘要資訊取自各篇刊載內容。