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題 名 | Rosencrantz and Guildenstern Are Dead by Tom Stoppard: A "Theatrical Parasite", a "Derivative Play", or a "Postmodern Classic"?=「羅斯和吉爾死了」: 寄生劇﹖衍生劇﹖後現代經典劇﹖ |
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作 者 | Huang,Ching-yun; | 書刊名 | 勤益學報 |
卷 期 | 16 1998.11[民87.11] |
頁 次 | 頁367-376 |
分類號 | 873.55 |
關鍵詞 | Rosencrantz and Guildenstern Are Dead; Stoppard, Tom; |
語 文 | 英文(English) |
中文摘要 | 《羅斯和吉爾死了》( Rosencrantz and Guildenstern Are Dead )一劇是湯姆 .史達博( Tom Stoppard )取莎翁( Shakespeare )名劇《哈姆雷特》( Hamlet )中 的兩位小人物的部份情節,及現代劇作大師皮藍德婁( Luigi Pirandello )的《六個劇中 人物尋找作者》( Six Characters in Search of an Author ), 和荒謬劇大師貝克特( Samuel Beckett )之《等待果佗》( Waiting for Godot )中的技巧及語調,加以改編, 重新創作。該劇受到正反兩極不同之評價,其爭議性在於:該劇為模仿?抑或是創作?劇評 家羅伯.布魯斯坦( Robert Brustein )貶它為「寄生劇」( theatrical parasite ), 諾曼.伯林( Normand Berlin )謫其為「衍生劇」( derivative play ), 本研究目的 在於為其正名, 該劇實為一「後現代經典劇」, 所採用之技巧「混成曲或模仿畫(劇)( pastiche )、「後設劇」( meta-drama )、和「互文性」( intertexuality ), 皆為 後現代藝術之典型特色。 以莎翁之盛名,其諸多名劇亦曾被疑為源自馬羅( Marlowe ), 若莎翁之「旁徵博引」是曠世巨作,那麼史達博之「互典」就不該是「剽竊物」。同理可見 ,若莎翁之《哈姆雷特》是文藝復興時期之經典劇,那麼《羅斯和吉爾死了》便是後現代之 經典劇。 |
英文摘要 | Rosencrantz and Guildenstern Are Dead was adapted from Shakespeare's Hamlet and cross-referred to Beckett's Waiting for Godot and Pirandelllo's Six Characters in Search of an Author by Tom Stoppard. Taking the risk of being scaled on the same 'steelyard' with great masters, Stoppard created a masterpiece. But the evaluation has not only been positive but also negative. The play is depreciated by Robert Brustein as a "theatrical parasite," and belittled by Normand Berlin as a "derivative play." This paper is going to justify Stoppard as a postmodern artist and the play as a "contemporary classic." In fact, it is this 'derivation' that makes the play more modern. The major techniques used in composing the play--"pastiche," "intertextuality," and "meta-drama"--are characteristic of postmodernity. If the "intertextual elements" are what they used to convict Stoppard as a thief, it's manifestly unfair; because Shakespeare's plays had been doubted to be adapted from Marlowe, and "intertextuality" is the most distinguishing feature of the Shakespearean texts. If this intertextual resourcefulness crowns Shakespeare the 'master of masters,' then it should have granted the same to Stoppard. |
本系統中英文摘要資訊取自各篇刊載內容。