Rebirth and Transfiguration of Chinese Opera in Western Opera:Semiotic Analysis of the Chinese Operatic Elements in the 1987 Metropolitan Opera Production of Turandot

作為義大歌劇作曲巨擘普契尼最後一部未完成的作品，也是當今世界各大 歌劇院最佳票房保證劇目，《杜蘭朵》一直被視為東方主義中最具代表性的藝 術作品之一。接續自於十九世紀對北非與西亞東方研究，東方主義一詞在直到 一九七八年愛德華．薩依德在其出版的同名書籍中才得到全面、完整的學術定 義。在反省西方藝術與學術界對東方文化主觀詮釋的態度與幻想，薩依德在面對 這一歐洲殖民主義的文化副產品時，犀利地批評這一自我中心的觀點。然而，早 在他尖銳的評論之前，這股浪漫的東方情懷早已在西方藝術、文學與音樂中激發 出諸多經典的藝術創作。而『杜蘭朵』便是其中翹楚之一，在一九二六年首演於 義大利歌劇最高殿堂米蘭史卡拉歌劇院，這部歌劇所呈現的，是東方異國情調的 音樂與故事以及西方追求愛情的主題與思想兩者完美的結合。 在歌劇舞台上，《杜蘭朵》一劇的製作，多沿襲西方自身對東方特有的詮釋 來滿足其跨文化浪漫幻想的傳統。正因為劇本情節設定在遙遠的中國古代，大多 數此劇的歌劇導演便會順理成章地以西方的品味與詮釋觀點來運用諸多中國文化 元素以期營造、增添東方氛圍。其中，最引人注目也是最常被運用在此劇製作的 中國風特點就是中國戲曲。迥異於西方戲劇傳統，中國戲曲以其豐富多元的程式 化戲劇語言著稱，尤其是容妝、服飾與程式動作方面，也是諸多導演由此得到靈 感創意並加以運用在製作中以增強中國情調。本文將以一九八七年紐約大都會歌 劇院製作、由佛朗哥．柴飛雷利執導的《杜蘭朵》歌劇為討論的中心。 本文將著重探討：1、導演在其製作中所運用的中國戲曲元素以及其試圖要 戲劇研究 第八期 -172- 達到的目的為何？2、他們如何將其所選擇的元素融合在表演中用以創造預期的 戲劇效果以及呈現其對此劇的詮釋？ 歌仔戲劇團演出製作的《卲江海》，敘述年輕的卲江海對歌仔戲的熱情，以及他 如何在中日戰爭期間創造出影響歌仔戲音樂的雜碎調(都馬調)。這齣戲在2002 年首演之後，即經歷多次修改。本文主要檢視它在2002/3年以及2005年間的兩個 文本(此分析文本合併劇本及演出本)在敘事上的轉變，探討歌仔戲史在這修改 的過程中，如何巧妙地被挪用，而歌仔戲的起源流布在第二版的敘事中也產生了 質變。歌仔戲身為唯一「臺灣製造」的劇種，在兩岸統獨意識形態高漲之際，大 陸的歌仔戲演出(representation)如何體現戲劇史在中國大陸的書寫政治，並反 映了中國民族主義意識形態。Turandot, as the last unfinished masterpiece of Puccini and a sure guarantee of the office box for the opera house nowadays, has long been regarded as one of the most representative prime works of Orientalism. Initiated in the nineteenth century from the Oriental study, focusing mainly on North Africa and Western Asia, the term “Orientalism” received a more comprehensive academic definition from Edward Said in 1978 with the publication of his book of the same title. Reflecting upon the western artistic and academic fantasy attitude toward objective interpretation of the East, a cultural side-product of European imperialism, Said insightfully criticized this scholarly, self-centered viewpoint. Long before Said’s critique, however, such a trend of oriental fantasy inspired artistic creativity in western art, literature and music. Premiered at the Teatro alla Scala in Milan, Italy in 1926, Turandot presents a perfect union of oriental exoticism in music and plot with occidental love pursuit in theme and ideology. On the operatic stage, the productions of Turandot largely follow this westerncentered interpretative tradition toward the East to fulfill cross-cultural fantasy. Due to the plot setting in remote, ancient China, almost all contemporary opera directors, when it comes to Turandot, apply numerous Chinese elements on the stage to create or enrich the oriental atmosphere according to western tastes and interpretation. And one of the most distinguished Chinese characteristics commonly utilized in various productions is Chinese opera. Unlike the western theatrical tradition, Chinese opera is renowned for its rich heritage of symbolic, stylized theatrical language, especially in makeup, costume and movements, from which these opera directors draw inspiration applied in Turandot to create Chinoiserie. In this research the 1987 Metropolitan production, directed by Franco Zeffirelli, of Turandot will be cited for discussion. The main focus of this analysis is to investigate: 1. What are the directors’ choices of Chinese operatic elements in these productions and what is their intention in utilizing these elements? 戲劇研究 第八期 -174- 2. How do the directors integrate these elements into the performance to create the intended theatrical effects and to present their interpretation of Turandot