《喜马拉雅王子》与《哈姆莱特》人物形象比较研究

发布时间：2018-01-21 03:17

  本文关键词： 哈姆莱特 胡雪桦 电影改编 比较研究　出处：《南京大学》2014年硕士论文　论文类型：学位论文

【摘要】：百余年来,东西方各国的电影导演用电影特有的表现形式对莎士比亚戏剧进行多元化的解读与诠释；《哈姆莱特》作为莎剧中最负盛名的悲剧,根据其剧中故事改编的影片已近百部。2006年,中国导演胡雪桦拍摄的西藏题材电影《喜马拉雅王子》就改编自《哈姆莱特》,导演用特有的视角与风格对经典莎剧进行了东方式的解读与诠释。影片在故事框架和人物语言等方面较忠实于原剧,但由于东西方的文化、宗教思想、哲学思辨的不同,导演又对故事主题和人物关系等方面进行了创造性重构。影片关注人物的情感生活与内心世界,将他们置于西藏雪域高原这个宏伟而神秘的背景之下,以凸显人类的渺小及在命运面前的无奈与挣扎。本文选取影片中的三个主要人物为研究对象,将其与来源作品《哈姆莱特》中相对应的人物进行比较,综合他们的具体言行来分析其人物形象。文章在细读并比较《哈姆莱特》和《喜马拉雅王子》两个文本的基础上,探析导演在西藏特殊的地理环境和文化环境中如何阐释原剧的文本,以及如何用镜头书写和呈现这些人物形象。 论文首先以莎剧中的哈姆莱特王子与影片中的拉摩洛丹王子为研究对象,从人文主义思想的视角加以对比分析。国内学者的传统观点认为剧中的核心人物哈姆莱特是典型的人文主义英雄,这实际上是对其真实形象的过度解读甚至误读。就哈姆莱特在剧中的言行表现而言,步入而立之年的他缺乏稳定的性格气质,不仅与其真实年龄和王子地位不相称,也与尊重生命、奋力进取的人文主义精神相去甚远。胡雪桦在影片中虽然没有颠覆哈姆莱特是人文主义英雄的传统观点,但基于其独特的思考与把握,实际上改变了哈姆莱特在原剧中的本来面目,赋予西藏王子更多的人文主义思想。年仅十七岁的拉摩洛丹勇敢地追求尘世之爱,冲破西藏宗教禁欲的樊笼,让大爱与生命得以循环、传递；在逆境与打击当中选择了理性与宽恕,自审、正视自己所犯的错误,敢于担当,甚至不惜以自己的生命换来他人的谅解。西藏王子在人生取舍中也体现出他的智慧,暗合其名字的象征,藏语“洛丹”即含聪明智慧之意。 文章第二组对比分析的对象为原剧中的国王克劳狄斯与影片中的藏王克劳盎。长期以来,克劳狄斯被解读为好色之徒、恶棍等反面人物,通过文本细读可以发现,这种对人物形象的认识是不全面、不可信的,这亦是对文本的误读,扭曲和损害了其本来面目。实际上,除去弑兄篡位的恶迹外,克劳狄斯算得上是懂政治、会治国、谋和平的明君,表现出杰出的才能和非凡的魅力。胡雪桦将克劳盎重塑为典型的“康巴汉子”,同时继承了克劳狄斯的这些良好品质,甚至具有更多的真诚和自省精神。此外,胡雪桦把他塑造成为一位悲剧性人物,让其在复杂的人物关系中承受更多的精神压力,加强了他内心的痛苦和挣扎,张力十足。 文章第三组对比分析的是两位王后：葛特露德和娜姆。与克劳狄斯一样,葛特露德的真实形象也遭到误读和扭曲,她被定义为屈从情欲、脆弱又失语的女人,甚至成为一个用于证明女性柔弱善变、水性杨花的卑下性别特质的符号。在对原文本仔细研读之后,本文认为葛特露德具有多面的复杂性格,是值得同情和尊敬的人物。尽管她从一开始表现出对男性的屈从和妥协,甚至失语,但是在情节的发展中她逐渐显现出作为王后的尊严和权威,也成功地扮演着作为妻子和母亲的角色,把自己的心和爱无私地分给她生命中的两个男性。胡雪桦的电影重现了这些美德,并将之放大。他将王后娜姆塑造成一位天使型女性,正如她的名字“娜姆”一样(藏语中“娜姆”含“仙女”之意)。影片中,王后成为中心人物,其政治地位和家庭地位明显提高,获得更多的尊严和尊重；同时,她的性格也是多元的,时而痛苦不堪,时而愤慨不已,时而又展现强烈的人性要求；娜姆敢爱敢恨的性格对整个故事情节的发展起着至关重要的作用。导演的这种处理也显示出时代的印记和个人的人文诉求,将人文主义传统与当代女性主义的思想融为一体。 结论部分阐明胡雪桦对《哈姆莱特》中的人物赋予更鲜明的性格及更合理的解读。他的改编不仅在全球化的莎士比亚文本研究和影视改编的潮流中发出了中国人的声音,丰富了国内学者对《哈姆莱特》中人物形象的理解,也为跨文化影视改编的实践提供了良好的借鉴。总的来说,胡雪桦的实践是在东方语境下以电影形式重新解读西方的经典戏剧,这样的跨文化和跨媒介改编扩大了莎剧的接受群,延长了原剧的生命,进一步张扬了莎翁原剧激起怜悯与恐惧、净化灵魂的戏剧效果。
[Abstract]:For hundreds of years, western countries form film director with unique film of Shakespeare drama interpretation and interpretation of diversification; < Hamlet > as Shakespeare's most famous tragedy, according to the story the film has nearly 100.2006, Chinese director Hu Xuehua filmed Tibet theme movie "Himalaya the Prince" adapted from "Hamlet", the director used perspective and unique style of Shakespeare Classics of reading and interpretation of the Oriental. The film story framework and character language etc. is faithful to the original series, but because of the eastern and Western culture, different religious ideas, philosophical, and director of the theme of the story and characters of creative reconstruction relationship. The film pays attention to people's emotional life and inner world, they will be placed under the snow covered plateau of Tibet this magnificent and mysterious background, to highlight the people Small and helpless and struggle in front of the destiny class. This paper selects three main characters in the film as the research object, with the corresponding source works < Hamlet > characters in comparison to analyze the characters of comprehensive specific words and deeds of their articles in reading. And than based < Hamlet > < > two and the Prince of Himalaya on the text, the text analysis on how the director at the Tibet special geographical environment and cultural environment in the interpretation of the original play, and how to use the camera and display the writing characters.
Firstly, the Prince Hamlet and Aisha in the film La laudun prince as the research object, to analyze from Humanism Perspective. The traditional views of domestic scholars believe that the core character of Hamlet is a typical humanist hero, this is actually excessive interpretation of the true image of Hamlet in the even misreading. The words and deeds of the performance, he entered the thirty years of age lack of stable personality, not only to its true age and status is not commensurate with the prince, respect for life, struggling to forge ahead the humanistic spirit far. Hu Xuehua in the film, although not the overthrow of Hamlet is the traditional view of humanism of the hero, but based on its unique thinking and grasp. Hamlet actually changed in the original series are given, the prince of Tibet more humanism. Only The seventeen year old laudun Rameau's brave pursuit of earthly love, breaking the barriers of Tibet religious abstinence, let love and life cycle, transfer; in adversity and strike among rational choice and forgiveness, self reflection, face their own mistakes, the courage to play, even at the expense of his own life in exchange for the understanding of others the prince of Tibet. In the life choice also reflects his wisdom, a symbol of its name implies, "Tibetan laudun" with wisdom and meaning.
The object of analysis between the second groups for king Claudius J and the original movie in a long time. King ang Claudius, Claudius was interpreted as amorist, such as villain villain, through a close reading of the text can be found in the understanding of the characters is not comprehensive, not credible, this is a misreading of the text, distorted and damaged its nature. In fact, apart from killing brother usurped evil trace, Claudius was understand politics, will rule, seek peace monarch show outstanding talent and charisma. Hu Xuehua will work as a typical g Anglia remodeling "Kangba", at the same time inherited these good qualities of Claudius J, even more sincere and introspective spirit. In addition, Hu Xuehua had established him as a tragic figure, let them suffer more mental pressure in the complex relationship between the characters, strengthening his The pain and struggle of the heart is full of tension.
The analysis between the third groups is two: Queen Gertrude and Namu. De Claudius J, the true image of Gerd Te Lourdes also misrepresented and distorted, she is defined as the subject of lust, weakness and aphasia of women, and even become a weak women to prove fickle, wanton humble sex traits in symbols. After the careful study, this paper thinks that the complex character of Gerd Te Lourdes has many, is worthy of sympathy and respect people. Although she started to show male submission and compromise, even aphasia, but in the development of the plot she gradually emerged as the Queen's dignity and authority, also successfully played as a wife and the role of the mother, his own heart and selfless love to her two men in life. Hu Xuehua's movies reproduce these virtues, and will be enlarged. He will be king after Namu plastic 閫犳垚涓，

本文编号：1450297