【摘要】： 文學(xué)經(jīng)典總是難以擺脫被改編為其它藝術(shù)形式的命運(yùn)。作為中國現(xiàn)代文學(xué)史上最優(yōu)秀的短篇小說之一,也是最早走向世界的中國現(xiàn)代小說,《阿Q正傳》注定為改編者所青睞。從《阿Q正傳》誕生至今,對(duì)《阿Q正傳》的改編已數(shù)不勝數(shù),但對(duì)其改編做系統(tǒng)深入的研究的論文卻并不多見。鑒于此,筆者選取《阿Q正傳》的話劇改編作為研究對(duì)象,以期能對(duì)豐富《阿Q正傳》的研究添磚加瓦。 首先,論文將目光聚焦在人物形象的塑造上。人物是一出戲的行動(dòng)者,是劇作者呈現(xiàn)其主要故事情節(jié)、作品思想內(nèi)涵的主要載體。在將小說《阿Q正傳》改編為話劇《阿Q正傳》的過程中,雖然不同的改編者對(duì)人物的處理不盡相同,但總的來說,有兩個(gè)共同傾向。一是人物形象塑造的意識(shí)形態(tài)化,劇作者設(shè)計(jì)情節(jié)丑化了屬于“剝削階級(jí)”陣營的人物,如趙太爺、假洋鬼子等;同時(shí),劇作者還安排情節(jié)美化了“被剝削階級(jí)”,拔高了人民群眾的思想覺悟,如阿Q、七斤等;二是改編者都在劇本中增添了吳媽、小尼姑等女性角色的戲份,使得舞臺(tái)《阿Q正傳》更為熱鬧庸俗。 其次,論文探討了從小說到話劇的結(jié)構(gòu)設(shè)置問題。小說和話劇都需要結(jié)構(gòu),但小說沒有空間和時(shí)間的限制,相對(duì)自由。而話劇是表演藝術(shù),受到表演時(shí)間及舞臺(tái)空間的制約,對(duì)結(jié)構(gòu)的要求自然更為嚴(yán)格。在把小說搬上舞臺(tái)的創(chuàng)作過程中,話劇《阿Q正傳》的劇作者通常采取了較為忠實(shí)于原著的開放式結(jié)構(gòu),但也有大膽地采用人像展覽式結(jié)構(gòu)的創(chuàng)造性改編,如梅阡的《咸亨酒店》。 最后,論文論述了劇作者為了將小說《阿Q正傳》成功地改編為話劇《阿Q正傳》,在語言方面所做的努力及由此帶來的得失。一方面,鑒于話劇的受眾不僅僅是讀書識(shí)字之人,還有更多的是識(shí)字不多或不識(shí)字的普通老百姓,劇作者刪去了原文中生僻難懂之詞及一些古文句式,換上了老百姓耳熟能詳、明白如話的口頭語言。另一方面,劇作者為了更為忠實(shí)于原著,不損其深邃內(nèi)蘊(yùn),通過演員對(duì)話、幕外音、解說詞等形式將原著語言照搬上舞臺(tái)。 雖然《阿Q正傳》的改編并不盡如人意,在改編實(shí)踐中,原著的一些精髓喪失了,豐富內(nèi)蘊(yùn)也遭到了削減。但是,將《阿Q正傳》搬上舞臺(tái)確實(shí)對(duì)傳播經(jīng)典,使《阿Q正傳》從書齋走向民間起到了一定作用。更加完美的改編,需要對(duì)《阿Q正傳》的進(jìn)一步消化及更有才華的改編者的出現(xiàn)。
[Abstract]:Literary classics are always hard to escape the fate of being adapted to other forms of art. As one of the best short stories in the history of modern Chinese literature and the earliest modern Chinese novel to the world, A Q is destined to be favored by the editors. Since the birth of "A Q", the adaptation of "A Q" has been numerous, but there are few papers on the adaptation of "A Q". In view of this, the author chooses the drama adaptation of "A Q" as the research object, in order to enrich the study of "Ah Q". First of all, the paper focuses on the image of the character. The characters are the actors of a play and the main carrier of the writer's main story and the connotation of his works. In the process of adapting the novel "A Q" to the drama "A Q", although different editors deal with different characters, generally speaking, there are two common tendencies. The first is the idealization of the portrayal of the characters. The playwright designs the plot to degrade the characters belonging to the "exploiting class" camp, such as Zhao Taiye, the fake foreign devils, and so on. At the same time, the playwright also arranges the plot to beautify the "exploited class." It has raised the people's ideological consciousness, such as Ah Q, seven jin, etc. Second, the editors have added Wu Ma, young nuns and other female characters to the script, making the stage "the True Story of Ah Q" more lively and vulgar. Secondly, the paper discusses the structure from novel to drama. Both fiction and drama require structure, but fiction is relatively free without space and time. Drama is a performing art, restricted by performance time and stage space, the structure of the requirements are naturally more stringent. In the process of bringing the novel to the stage, the playwrights of the drama A Q usually adopt an open structure that is more faithful to the original work, but there are also creative adaptations of the portrait exhibition structure. For example, Mei Qian's "Xianheng Hotel". Finally, the paper discusses the author's efforts in language and the gains and losses brought about by the successful adaptation of the novel "A Q" into the drama "A Q". On the one hand, in view of the fact that the audience of the drama is not only the people who read and read, but also the ordinary people who are not literate or literate, the playwright has deleted the obscure words and some ancient sentence patterns in the original text and replaced them with familiar ones. Understand the spoken language as it is spoken. On the other hand, in order to be more faithful to the original work, the playwright copied the original language onto the stage through the actors' dialogue, the external sound, the commentary and so on. Although the adaptation of the True Story of Ah Q is not satisfactory, in the adaptation practice, some of the essence of the original book has been lost, rich content has also been reduced. However, putting Ah Q on stage does play a certain role in spreading the classics and making Ah Q's biography from study to folk. A more perfect adaptation requires further digestion of A Q and the emergence of more talented editors.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J824

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