《中國公主杜蘭朵》：戲曲跨文化改編的誤讀

Chinese Princess Turandot: The Misreading in the Cross-cultural Adaptation of Xiqu

當代戲曲跨文化改編的風潮方興未艾，其改編方向，有的盡量忠實於原著，有些則大刀闊斧使之中國化、戲曲化。在眾多跨文化改編之中，川劇鬼才魏明倫創作的《中國公主杜蘭朵》，與浦契尼的義大利歌劇《杜蘭朵》之間，其跨文化改編的關係如何？本論文以接受美學中的「誤讀理論」，解釋魏明倫在進行跨文化改編的過程中，所產生的文本意義增殖、轉換與引申等現象；並借用佛洛伊德「生命本能」與「死亡本能」的學說，辨析原歌劇《杜蘭朵》不屬於寫實歌劇，從而證明魏明倫的「誤讀」。此「誤讀」不是一般意義上消極被動的錯誤解讀，而是跨文化改編過程中創造性的誤讀，也正由於這種誤讀，才使其跨文化改編所欲實現的「中國化、戲曲化、川劇化」成為可能。

The cross-cultural adaptation of contemporary xiqu is a fashion today, whose ways of adaptation, some are faithful to the original as possible, some make it sinicize and xiquticize dramatically. In a number of cross-cultural adaptations, is there any relation between Ming-Lun Wei's Chinese Princess Turandot and Puccini's Turandot?This article explains the proliferation, transformation and extension of the text meaning of phenomena during the adapting with the“Theory of Misreading”of Reception Aesthetic, and clarifies that the original Turandot is not a realistic opera, thus proving that the Ming-Lun Wei's“misreading”with Freud's doctrine of“Life Instinct”(Eros Instinct) and“Death Instinct”(Thanatos Instinct). The“misreading”is not a general error explanation of passive, but creative misreading in cross-cultural adaptation process, precisely because of this misreading, makes the goal of crosscultural adaptation,“sinicization, xiquticization, Sichuan operaticization”possible.