二十一世紀在韓國舞台上的《趙氏孤兒》——中國古典戲劇的當代化與在地化

The Zhao Family Orphan on the 21st Century Korean Stage –Contemporary Interpretation and Localization of Chinese Classical Opera

《趙氏孤兒》為中國古典戲曲的代表劇目。二十世紀初王國維先生在他的《宋元戲曲考》中特舉關漢卿的《竇娥冤》和紀君祥的《趙氏孤兒》評價為與世界大悲劇比也無愧色。本文要談二十一世紀在韓國舞台上的兩次《趙氏孤兒》演出。這兩次演出雖然都在韓國演出，也是韓國劇團的製作，以韓國演員為載體，但一次是二○○七年中國導演田沁鑫執導，一次是二○一五年韓國高宣雄導演執導。田沁鑫本以二○○六北京國家話劇院演出本為基礎，基本架構一樣，但有所新的詮釋和實驗。田本敘事既採用解體故事的方式，韓國版實驗內容也是一種進一步的解體，主要在解體人物，如一個女演員扮演柔弱的孤兒、一個男演員扮演較有武勇的孤兒，各自趨向於程嬰父親和屠岸賈父親，這分裂的兩個自我在內面或發生矛盾或進行對話。但仍是整個舞台散發濃厚的悲劇氣氛，壓抑情緒支配全劇。二○一五年韓國國立劇團製作的《趙氏孤兒，復仇的種子》，由高宣雄編導，尊重元雜劇本，但戲劇處理上增加了新的詮釋和處理，尤其可謂在當代韓國舞台上呈現的代表性在地化的演出。高宣雄版《趙氏孤兒》演出，由於高導重視戲劇性和遊戲性的改編和導演及河成光等優秀演員們精彩的表演，不但十分能夠呈現和轉達原作具有的敘事力量和戲劇性，還使演出回歸戲劇本質的遊戲性，創造了很淳樸詼諧，又能深入揭發人心而具有震撼力的舞台。不僅呈現出韓國特色的感人的舞台，更發揚了東方舞台美學自由活潑的藝術生命，給世界戲劇添光加彩。這一次成功的原因，可以說是混種文化裏散發出來的創意。韓國戲劇舞台接受西方戲劇的養分,對包括韓國在內的東方戲劇美學有很深的體會，因此在接受中國劇目加以解釋和呈現時，以對東方古代文化深入理解為基礎，再用自己獨特的審美感受發揮了創意。高版《趙氏孤兒》演出，既具有人類普世的價值和共鳴的感受，又帶著很自然樸素的韓國美感。它使韓國戲劇界發現了中國古典戲曲豐富的戲劇性，獲得了東方古典戲曲再創作的信心，不能不說是很大的收穫。中國戲曲值得大家重新挖掘其內涵的價值。

The Zhao Family Orphan (趙氏孤兒) is a very famous drama in the Chinese classical repertoire. Wang Guowei in his book, A Study of Song and Yuan Drama, paid high compliments to The Zhao Family Orphan and The Resentment of Dou E as very real tragedies in Chinese drama. In this paper, I’m going to carry out a comparative study of two performances of The Zhao Family Orphan on the Korean stage in this century. Both were produced by Korean actors of a Korean theatre group, though one was directed in 2007 by Tian Qinxin (田沁鑫) who is a prominent Chinese director of the National Theatre of China, along with the Michoo (美醜) theatre troupe; the other was directed by Koh Sun-woong (高宣雄) , who is also a prominent Korean director, invited by the National Theatre of Korea for the production in 2015. Tian’s is partly changed from her original Chinese version, so it can be considered as a Chinese version interpreted in a contemporary Chinese context. She reorganized the story into several different memories of one historical massacre by different characters, in a deconstructive way. In the Korean version, she added one more deconstructive experiment on character, such as two orphans of weak and strong character, who sometimes have conflict, and sometimes have conversation; also, three women as princesses: one is a lascivious woman, which means the self of sexual desire, the second one is performed by an actor, which means the desire for power, usually a masculine characteristic, and the third one is the self of motherhood. She filled the empty stage with the physical acting of the main characters and the chorus. Her stage was very rhythmical with strong visual images of red and black color, which presented a heavy and suppressed mood of Greek tragedy. Koh’s stage is pretty faithfully based on the Yuan drama version, because he believes it has great narrative power. But it disclosed the limits of that time, so director Koh developed much more meaningful interpretations of the revenge itself. Koreans are familiar with Confucian ideas as Asian values, and can easily accept the value of loyalty and filial piety, but we can’t agree with the violence and massacre, especially because we still remember the Korean War, the blood for democracy and the recent tragedy of the Sewol ferry in our own modern history. So we wanted to reveal the total fact about what righteousness is, and to confirm the value of self-sacrifice for loyalty and faith, but not the violence and massacre only for one man’s power. That’s why he put a really poignant scene at the end in which nobody listens to Cheng Ying or even cares for him when, after the same revenge, he ends his life to report the result to his dead friends, though the massacre was held by the king who wanted to keep his power on. It totally collapses not only him but also all the audience as they realize that revenge is all for nothing. So the person in the black suit, who is an outside character of the drama, brings a message: not to make any problem among people and to live together with love during your short life. For the presence of historical memory, Koh used several different ways to show the way it is remembered. Because the memory is usually one sided, not comprehensive, so at the beginning we only can watch a sketch about Chu Ni and Ling Zhe, and at the last scene Cheng Ying, the witness of the affair, revealed why Chu Ni died in that way and why Ling Zhe acted in that way through the explanation of the picture. The scene of Cheng Ying struggling with his wife to exchange his son and orphan not only leads the audience to an emotional peak but also lets them contemplate the conflict of human nature and the belief in social relationship. Because of the deep insight into human nature, I believe the scene added a new page in the story of The Zhao Family Orphan. Koh’s version gives us very strong message, not only in the theme and narrative, but also in presenting a very familiar, but fresh and impressive approach to the stage. Because Koh puts stress on theatricality and playfulness, he prefers an empty stage and very much depends upon the performance of the actors. The harmony of the actors and all the elements of the stage is the real virtue of this production. The most interesting characteristic of this production is the unique Korean style tragedy. The Zhao Family Orphan is the famous so-called “Chinese tragedy,” and many directors feel the burden of how to show the tragedy. But director Koh approached it in his own Korean way, because Koreans used to use humor and satire as a light touch in dealing with deep sorrow and tragic fate. So the stage keeps on a speedy and cheerful rhythm until Cheng Ying’s son is dead in the first act and even until the orphan comes to know his own story of survival in the second act. The performance fully displayed the aesthetic of the empty stage of traditional oriental theatre in a very interesting way. I believe the production not only revealed the power of the narrative of Chinese classical drama, but also brought up a universal dialogue with deep and new interpretations, and also created an interesting new stage of Korean style tragedy. It also contributed to arousing new concern about the staging of Chinese classical drama.