荒诞派戏剧《椅子》与其昆剧改编比较研究.
Eugène Ionesco's The Chairs is a classic masterpiece of absurdist theatre, while Kunqu Opera, revered as the "ancestor of all operas" in China, is a household treasure as part of the nation's cultural heritage. The eponymous Kunqu Opera The Chairs, adapted by playwright Yu Xiating, is endowed with n...
| Publicado en: | Foreign Literature Studies Vol. 47; no. 6; pp. 80 - 92 |
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| Autor principal: | |
| Formato: | Artículo |
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Foreign Literature Studies
Dec2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| Sumario: | Eugène Ionesco's The Chairs is a classic masterpiece of absurdist theatre, while Kunqu Opera, revered as the "ancestor of all operas" in China, is a household treasure as part of the nation's cultural heritage. The eponymous Kunqu Opera The Chairs, adapted by playwright Yu Xiating, is endowed with new vitality based on the essence of musical tones of Kunqu's "water-polished melody," serving as an outstanding model of the dialogue and fusion between Chinese and Western theatre. The differences between the two versions of The Chairs, which lie in the three core dimensions of creative context, cross-cultural philosophical dialogue, and artistic adaptation, reveal the underlying divergences in Chinese and Western philosophical and artistic conceptions. The absurdist play The Chairs employs concise and direct language, a loose and free structure, and abstract stage performance to directly confront the spiritual predicament of "individual loneliness" and "existential nihility" of humanity in post-war Western society; in contrast, the Kunqu Opera The Chairs, with its elegant libretto rhythm, rigorous narrative structure, and refined stage aesthetics, transforms Western existential interrogation into the expression of local wisdom that integrates Confucian ideals of "active worldly engagement and striving for advancement" with Taoist notions of "transcendent detachment and adherence to constancy." This cross-cultural transcoding mediated by traditional Chinese philosophy not only achieves the contemporary revitalization of traditional Kunqu Opera but also builds a platform for equal exchange between Chinese and Western theatre, providing an exemplar of both theoretical value and practical significance for the cross-cultural innovation and development of traditional Kunqu Opera and other Chinese opera genres. 尤奈斯库的《椅子》是荒诞派戏剧的经典之作, 而享有"百戏之祖"盛誉 的中国昆剧, 乃是家喻户晓的文化瑰宝。由俞霞婷改编的同名昆剧《椅子》, 汲取昆 剧"水磨调"唱腔之精髓, 被赋予了全新的生命力。两部《椅子》堪称中西戏剧对话 与交融的卓越典范, 二者在创作语境、哲学对话及艺术表达三个维度上所呈现的差异, 深 刻揭示了中西方在哲学观与艺术观层面的迥异。荒诞派戏剧《椅子》以简洁直白的语 言、松散自由的结构和抽象化舞台表演, 直面西方战后"个体孤独"和"存在虚无"的 精神困境; 昆剧《椅子》则凭借其优雅的唱词格律、严谨的叙事结构和清雅的舞台美 学, 将西方对存在的叩问转化为儒学"入世奋进"和道家"超脱守常"的本土智慧表达。这 种以中国传统哲学为译介的跨文化转码, 既实现了传统昆剧的当代活化, 又搭建了中 西戏剧平等交流的平台, 为我国传统昆剧及其他戏曲剧种的跨文化创新和发展, 提供 了兼具理论价值和实践意义的范例. |
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