《中國英雄》於歐洲之初期傳播研究

The Initial Dissemination of L'Eroe Cinese in Europe

《中國英雄》（L'eroe cinese）是《趙氏孤兒》在歐洲的改編劇本中，最早付諸演出的一部。由號稱「正歌劇作詞家之王」的義大利文學家梅塔斯塔齊奧（Pietro Metastasio）編寫劇本，在十八世紀風行一時；更經當時多位作曲家譜曲，使一部元朝戲曲，化為二十餘部歐洲歌劇。本文整理其前數部歌劇之首次演出情況，分別為：朱塞佩．博諾（Giuseppe Bonno）於維也納、一位佚名作曲家於威尼斯、達維德．佩雷斯（David Pérez）於里斯本、巴爾達薩里．加露皮（Baldassare Galuppi）於那不勒斯，和約翰．阿道夫．哈塞（Johann Adolph Hasse）於德勒斯登。呈現《中國英雄》的初期創作與傳播情況，分析在此五座城市優先上演之條件，幾位作曲家們建立的示範作用，從而促成十餘位後起之秀的跟進創作。文中嘗試會通中外漢學、國別史、音樂、戲劇等不同領域的研究成果，並藉此反思當前的奧地利、葡萄牙、義大利、德國各地區十八世紀歐洲「中國熱」，乃至於漢學研究的盲點。

L'eroe cinese is the first performed adaptation of The Orphan of Zhao in Europe. Largely popular in the 18th century, the script was written by Italian writer Pietro Metastasio, who is widely considered to be the most important writer of opera seria libretti. Also composed by many other composers at that time, this Yuan Dynasty opera was turned into more than 20 European operas. This paper seeks to address the first performances of the first few operas, which were written by Giuseppe Bonno in Vienna, an anonymous composer in Venice, David Pérez in Lisbon, Baldassare Galuppi is in Naples, and Johann Adolph Hasse is in Dresden. Besides presenting the initial creation and dissemination of L'eroe cinese, we will also analyze the conditions for showcase priorities in these five cities, and how the demonstration role of the four composers further led to the follow-up creation of more than ten rising stars. We will try to present research results in different fields such as Sinology, Chinese history, music, and drama. At the same time, we will reflect on the 18th century ''Chinoiserie'' in Austria, Portugal, Italy, and Germany, which leads up to the blind-spot towards Sinology.