《阿Q正传》话剧改编研究

发布时间：2018-10-19 14:36

【摘要】： 文学经典总是难以摆脱被改编为其它艺术形式的命运。作为中国现代文学史上最优秀的短篇小说之一,也是最早走向世界的中国现代小说,《阿Q正传》注定为改编者所青睐。从《阿Q正传》诞生至今,对《阿Q正传》的改编已数不胜数,但对其改编做系统深入的研究的论文却并不多见。鉴于此,笔者选取《阿Q正传》的话剧改编作为研究对象,以期能对丰富《阿Q正传》的研究添砖加瓦。首先,论文将目光聚焦在人物形象的塑造上。人物是一出戏的行动者,是剧作者呈现其主要故事情节、作品思想内涵的主要载体。在将小说《阿Q正传》改编为话剧《阿Q正传》的过程中,虽然不同的改编者对人物的处理不尽相同,但总的来说,有两个共同倾向。一是人物形象塑造的意识形态化,剧作者设计情节丑化了属于“剥削阶级”阵营的人物,如赵太爷、假洋鬼子等;同时,剧作者还安排情节美化了“被剥削阶级”,拔高了人民群众的思想觉悟,如阿Q、七斤等;二是改编者都在剧本中增添了吴妈、小尼姑等女性角色的戏份,使得舞台《阿Q正传》更为热闹庸俗。其次,论文探讨了从小说到话剧的结构设置问题。小说和话剧都需要结构,但小说没有空间和时间的限制,相对自由。而话剧是表演艺术,受到表演时间及舞台空间的制约,对结构的要求自然更为严格。在把小说搬上舞台的创作过程中,话剧《阿Q正传》的剧作者通常采取了较为忠实于原著的开放式结构,但也有大胆地采用人像展览式结构的创造性改编,如梅阡的《咸亨酒店》。最后,论文论述了剧作者为了将小说《阿Q正传》成功地改编为话剧《阿Q正传》,在语言方面所做的努力及由此带来的得失。一方面,鉴于话剧的受众不仅仅是读书识字之人,还有更多的是识字不多或不识字的普通老百姓,剧作者删去了原文中生僻难懂之词及一些古文句式,换上了老百姓耳熟能详、明白如话的口头语言。另一方面,剧作者为了更为忠实于原著,不损其深邃内蕴,通过演员对话、幕外音、解说词等形式将原著语言照搬上舞台。虽然《阿Q正传》的改编并不尽如人意,在改编实践中,原著的一些精髓丧失了,丰富内蕴也遭到了削减。但是,将《阿Q正传》搬上舞台确实对传播经典,使《阿Q正传》从书斋走向民间起到了一定作用。更加完美的改编,需要对《阿Q正传》的进一步消化及更有才华的改编者的出现。
[Abstract]:Literary classics are always hard to escape the fate of being adapted to other forms of art. As one of the best short stories in the history of modern Chinese literature and the earliest modern Chinese novel to the world, A Q is destined to be favored by the editors. Since the birth of "A Q", the adaptation of "A Q" has been numerous, but there are few papers on the adaptation of "A Q". In view of this, the author chooses the drama adaptation of "A Q" as the research object, in order to enrich the study of "Ah Q". First of all, the paper focuses on the image of the character. The characters are the actors of a play and the main carrier of the writer's main story and the connotation of his works. In the process of adapting the novel "A Q" to the drama "A Q", although different editors deal with different characters, generally speaking, there are two common tendencies. The first is the idealization of the portrayal of the characters. The playwright designs the plot to degrade the characters belonging to the "exploiting class" camp, such as Zhao Taiye, the fake foreign devils, and so on. At the same time, the playwright also arranges the plot to beautify the "exploited class." It has raised the people's ideological consciousness, such as Ah Q, seven jin, etc. Second, the editors have added Wu Ma, young nuns and other female characters to the script, making the stage "the True Story of Ah Q" more lively and vulgar. Secondly, the paper discusses the structure from novel to drama. Both fiction and drama require structure, but fiction is relatively free without space and time. Drama is a performing art, restricted by performance time and stage space, the structure of the requirements are naturally more stringent. In the process of bringing the novel to the stage, the playwrights of the drama A Q usually adopt an open structure that is more faithful to the original work, but there are also creative adaptations of the portrait exhibition structure. For example, Mei Qian's "Xianheng Hotel". Finally, the paper discusses the author's efforts in language and the gains and losses brought about by the successful adaptation of the novel "A Q" into the drama "A Q". On the one hand, in view of the fact that the audience of the drama is not only the people who read and read, but also the ordinary people who are not literate or literate, the playwright has deleted the obscure words and some ancient sentence patterns in the original text and replaced them with familiar ones. Understand the spoken language as it is spoken. On the other hand, in order to be more faithful to the original work, the playwright copied the original language onto the stage through the actors' dialogue, the external sound, the commentary and so on. Although the adaptation of the True Story of Ah Q is not satisfactory, in the adaptation practice, some of the essence of the original book has been lost, rich content has also been reduced. However, putting Ah Q on stage does play a certain role in spreading the classics and making Ah Q's biography from study to folk. A more perfect adaptation requires further digestion of A Q and the emergence of more talented editors.
【学位授予单位】：首都师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J824

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