本文關(guān)鍵詞： 哈姆萊特 胡雪樺 電影改編 比較研究　出處：《南京大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：百余年來,東西方各國(guó)的電影導(dǎo)演用電影特有的表現(xiàn)形式對(duì)莎士比亞戲劇進(jìn)行多元化的解讀與詮釋；《哈姆萊特》作為莎劇中最負(fù)盛名的悲劇,根據(jù)其劇中故事改編的影片已近百部。2006年,中國(guó)導(dǎo)演胡雪樺拍攝的西藏題材電影《喜馬拉雅王子》就改編自《哈姆萊特》,導(dǎo)演用特有的視角與風(fēng)格對(duì)經(jīng)典莎劇進(jìn)行了東方式的解讀與詮釋。影片在故事框架和人物語言等方面較忠實(shí)于原劇,但由于東西方的文化、宗教思想、哲學(xué)思辨的不同,導(dǎo)演又對(duì)故事主題和人物關(guān)系等方面進(jìn)行了創(chuàng)造性重構(gòu)。影片關(guān)注人物的情感生活與內(nèi)心世界,將他們置于西藏雪域高原這個(gè)宏偉而神秘的背景之下,以凸顯人類的渺小及在命運(yùn)面前的無奈與掙扎。本文選取影片中的三個(gè)主要人物為研究對(duì)象,將其與來源作品《哈姆萊特》中相對(duì)應(yīng)的人物進(jìn)行比較,綜合他們的具體言行來分析其人物形象。文章在細(xì)讀并比較《哈姆萊特》和《喜馬拉雅王子》兩個(gè)文本的基礎(chǔ)上,探析導(dǎo)演在西藏特殊的地理環(huán)境和文化環(huán)境中如何闡釋原劇的文本,以及如何用鏡頭書寫和呈現(xiàn)這些人物形象。 論文首先以莎劇中的哈姆萊特王子與影片中的拉摩洛丹王子為研究對(duì)象,從人文主義思想的視角加以對(duì)比分析。國(guó)內(nèi)學(xué)者的傳統(tǒng)觀點(diǎn)認(rèn)為劇中的核心人物哈姆萊特是典型的人文主義英雄,這實(shí)際上是對(duì)其真實(shí)形象的過度解讀甚至誤讀。就哈姆萊特在劇中的言行表現(xiàn)而言,步入而立之年的他缺乏穩(wěn)定的性格氣質(zhì),不僅與其真實(shí)年齡和王子地位不相稱,也與尊重生命、奮力進(jìn)取的人文主義精神相去甚遠(yuǎn)。胡雪樺在影片中雖然沒有顛覆哈姆萊特是人文主義英雄的傳統(tǒng)觀點(diǎn),但基于其獨(dú)特的思考與把握,實(shí)際上改變了哈姆萊特在原劇中的本來面目,賦予西藏王子更多的人文主義思想。年僅十七歲的拉摩洛丹勇敢地追求塵世之愛,沖破西藏宗教禁欲的樊籠,讓大愛與生命得以循環(huán)、傳遞；在逆境與打擊當(dāng)中選擇了理性與寬恕,自審、正視自己所犯的錯(cuò)誤,敢于擔(dān)當(dāng),甚至不惜以自己的生命換來他人的諒解。西藏王子在人生取舍中也體現(xiàn)出他的智慧,暗合其名字的象征,藏語“洛丹”即含聰明智慧之意。 文章第二組對(duì)比分析的對(duì)象為原劇中的國(guó)王克勞狄斯與影片中的藏王克勞盎。長(zhǎng)期以來,克勞狄斯被解讀為好色之徒、惡棍等反面人物,通過文本細(xì)讀可以發(fā)現(xiàn),這種對(duì)人物形象的認(rèn)識(shí)是不全面、不可信的,這亦是對(duì)文本的誤讀,扭曲和損害了其本來面目。實(shí)際上,除去弒兄篡位的惡跡外,克勞狄斯算得上是懂政治、會(huì)治國(guó)、謀和平的明君,表現(xiàn)出杰出的才能和非凡的魅力。胡雪樺將克勞盎重塑為典型的“康巴漢子”,同時(shí)繼承了克勞狄斯的這些良好品質(zhì),甚至具有更多的真誠(chéng)和自省精神。此外,胡雪樺把他塑造成為一位悲劇性人物,讓其在復(fù)雜的人物關(guān)系中承受更多的精神壓力,加強(qiáng)了他內(nèi)心的痛苦和掙扎,張力十足。 文章第三組對(duì)比分析的是兩位王后：葛特露德和娜姆。與克勞狄斯一樣,葛特露德的真實(shí)形象也遭到誤讀和扭曲,她被定義為屈從情欲、脆弱又失語的女人,甚至成為一個(gè)用于證明女性柔弱善變、水性楊花的卑下性別特質(zhì)的符號(hào)。在對(duì)原文本仔細(xì)研讀之后,本文認(rèn)為葛特露德具有多面的復(fù)雜性格,是值得同情和尊敬的人物。盡管她從一開始表現(xiàn)出對(duì)男性的屈從和妥協(xié),甚至失語,但是在情節(jié)的發(fā)展中她逐漸顯現(xiàn)出作為王后的尊嚴(yán)和權(quán)威,也成功地扮演著作為妻子和母親的角色,把自己的心和愛無私地分給她生命中的兩個(gè)男性。胡雪樺的電影重現(xiàn)了這些美德,并將之放大。他將王后娜姆塑造成一位天使型女性,正如她的名字“娜姆”一樣(藏語中“娜姆”含“仙女”之意)。影片中,王后成為中心人物,其政治地位和家庭地位明顯提高,獲得更多的尊嚴(yán)和尊重；同時(shí),她的性格也是多元的,時(shí)而痛苦不堪,時(shí)而憤慨不已,時(shí)而又展現(xiàn)強(qiáng)烈的人性要求；娜姆敢愛敢恨的性格對(duì)整個(gè)故事情節(jié)的發(fā)展起著至關(guān)重要的作用。導(dǎo)演的這種處理也顯示出時(shí)代的印記和個(gè)人的人文訴求,將人文主義傳統(tǒng)與當(dāng)代女性主義的思想融為一體。 結(jié)論部分闡明胡雪樺對(duì)《哈姆萊特》中的人物賦予更鮮明的性格及更合理的解讀。他的改編不僅在全球化的莎士比亞文本研究和影視改編的潮流中發(fā)出了中國(guó)人的聲音,豐富了國(guó)內(nèi)學(xué)者對(duì)《哈姆萊特》中人物形象的理解,也為跨文化影視改編的實(shí)踐提供了良好的借鑒。總的來說,胡雪樺的實(shí)踐是在東方語境下以電影形式重新解讀西方的經(jīng)典戲劇,這樣的跨文化和跨媒介改編擴(kuò)大了莎劇的接受群,延長(zhǎng)了原劇的生命,進(jìn)一步張揚(yáng)了莎翁原劇激起憐憫與恐懼、凈化靈魂的戲劇效果。
[Abstract]:For hundreds of years, western countries form film director with unique film of Shakespeare drama interpretation and interpretation of diversification; < Hamlet > as Shakespeare's most famous tragedy, according to the story the film has nearly 100.2006, Chinese director Hu Xuehua filmed Tibet theme movie "Himalaya the Prince" adapted from "Hamlet", the director used perspective and unique style of Shakespeare Classics of reading and interpretation of the Oriental. The film story framework and character language etc. is faithful to the original series, but because of the eastern and Western culture, different religious ideas, philosophical, and director of the theme of the story and characters of creative reconstruction relationship. The film pays attention to people's emotional life and inner world, they will be placed under the snow covered plateau of Tibet this magnificent and mysterious background, to highlight the people Small and helpless and struggle in front of the destiny class. This paper selects three main characters in the film as the research object, with the corresponding source works < Hamlet > characters in comparison to analyze the characters of comprehensive specific words and deeds of their articles in reading. And than based < Hamlet > < > two and the Prince of Himalaya on the text, the text analysis on how the director at the Tibet special geographical environment and cultural environment in the interpretation of the original play, and how to use the camera and display the writing characters.
Firstly, the Prince Hamlet and Aisha in the film La laudun prince as the research object, to analyze from Humanism Perspective. The traditional views of domestic scholars believe that the core character of Hamlet is a typical humanist hero, this is actually excessive interpretation of the true image of Hamlet in the even misreading. The words and deeds of the performance, he entered the thirty years of age lack of stable personality, not only to its true age and status is not commensurate with the prince, respect for life, struggling to forge ahead the humanistic spirit far. Hu Xuehua in the film, although not the overthrow of Hamlet is the traditional view of humanism of the hero, but based on its unique thinking and grasp. Hamlet actually changed in the original series are given, the prince of Tibet more humanism. Only The seventeen year old laudun Rameau's brave pursuit of earthly love, breaking the barriers of Tibet religious abstinence, let love and life cycle, transfer; in adversity and strike among rational choice and forgiveness, self reflection, face their own mistakes, the courage to play, even at the expense of his own life in exchange for the understanding of others the prince of Tibet. In the life choice also reflects his wisdom, a symbol of its name implies, "Tibetan laudun" with wisdom and meaning.
The object of analysis between the second groups for king Claudius J and the original movie in a long time. King ang Claudius, Claudius was interpreted as amorist, such as villain villain, through a close reading of the text can be found in the understanding of the characters is not comprehensive, not credible, this is a misreading of the text, distorted and damaged its nature. In fact, apart from killing brother usurped evil trace, Claudius was understand politics, will rule, seek peace monarch show outstanding talent and charisma. Hu Xuehua will work as a typical g Anglia remodeling "Kangba", at the same time inherited these good qualities of Claudius J, even more sincere and introspective spirit. In addition, Hu Xuehua had established him as a tragic figure, let them suffer more mental pressure in the complex relationship between the characters, strengthening his The pain and struggle of the heart is full of tension.
The analysis between the third groups is two: Queen Gertrude and Namu. De Claudius J, the true image of Gerd Te Lourdes also misrepresented and distorted, she is defined as the subject of lust, weakness and aphasia of women, and even become a weak women to prove fickle, wanton humble sex traits in symbols. After the careful study, this paper thinks that the complex character of Gerd Te Lourdes has many, is worthy of sympathy and respect people. Although she started to show male submission and compromise, even aphasia, but in the development of the plot she gradually emerged as the Queen's dignity and authority, also successfully played as a wife and the role of the mother, his own heart and selfless love to her two men in life. Hu Xuehua's movies reproduce these virtues, and will be enlarged. He will be king after Namu plastic 閫犳垚涓，

本文編號(hào)：1450297