新詮？挪借？：試論臺灣豫劇團《約／束》的改編意念

New Interpretation or Appropriation: A Discuss on the Thought of Adaption of Taiwan BangZi Opera’s ”Bond”

豫劇作為一傳統戲曲，必然有其劇種的特徵，如此不致與京劇、粵劇、崑曲等劇種分辨不清。故若先行爬梳豫劇傳統的聲腔、腳色、表演程式，藉此觀察出臺灣豫劇團對於傳統豫劇的轉化，便能看出臺灣豫劇團亟欲改變的企圖心。從臺灣豫劇團的轉化開始，已經可以觀察出臺灣豫劇團對於劇團未來的走向以及轉型的企圖。從《中國公主杜蘭朵》開始的跨劇種，到改編莎翁作品的《約／束》、《量．度》，在在顯示出臺灣豫劇團勇於嘗試、敢於改變的意圖。雖然在改編時，因為文化差異、背景不明等因素，使得劇作出現些許瑕疵；但對於豫劇團而言，改編莎翁的作品，的確讓國際學者看到了臺灣豫劇團的存在。

As a traditional opera, Henan opera has its characteristic consequentially so that we can separate it from Beijing Opera, Cantonese opera and Kun opera. If we had arrange Henan opera’s characteristics, we could observe what Taiwan Bangzi Opera have done. From the change of Taiwan Bangzi Opera, we could realize their intention to change the opera’s tradition. From the cross-cultural opera ＂Zhongguo gongzhu dulanduo＂ to adapt Shakespeare’s ＂Bond＂ and ＂Measure for Measure＂, it shows Taiwan Bangzi Opera’s brave and intention. But this adaption has some mistake indeed because of the cross-cultural adaption. To Taiwan Bangzi Opera, this attempt to adaption let their opera troupe show on the international stage.