語言．表演．跨文化：《李爾王》與「莎戲曲」

Language, Performance and Cross-culture: King Lear and “Shake-xiqu”

《李爾王》是莎士比亞的經典悲劇，原以無韻體詩（blank verse）、風格化表演問世。當代跨文化改編為韻文學、程式性劇場的戲曲，如尚長榮主演之京劇《歧王夢》、王海玲主演之豫劇《天問》，不論背景設定、語言書寫、演出樣式、表演手段等，都有待審慎琢磨、推陳出新。誠如赫全（Linda Hutcheon）在《改編理論》（A Theory of Adaptation）一書中指出：作為實存的成品，改編已有多方面的轉換（extensive transposition），如媒介（medium）、樣式（genre）、架構（frame）、背景（context）等，宜視為獨立的作品。因此，本文即擬從《改編理論》的視角切入，探討《歧王夢》、《天問》的語言特色、演繹策略及文化底蘊，庶幾可以提供跨文化劇場與表演研究作為記錄、參考。

King Lear, a typical tragedy of Shakespeare, is realized in blank verse and stylized performance. As it is transculturally adapted into Chinese opera in verse and programmed theater, such as King Qi’s Dream starred by Shang Changrong and Questioning Heaven starred by Hai-Ling Wang, the background, language, performing style and techniques need to be reformed and innovated. As Linda Hutcheon indicates in A Theory of Adaptation, adaptations are compete products that exist with many extensive transpositions, such as medium, genre, frame and context; thus, they should be regarded as individual works. Hence, this article aims to analyze the language, development of adaptation and culture of King Qi’s Dream and Questioning Heaven from the perspective of A Theory of Adaptation. It attempts to provide Transcultural Theater and performance with a record and referential information.