劇本改編與戲劇再現: 比較《青天斷婿》與《超炫白蛇傳》

Translated title of the contribution: Signification of Script Adaptation and Interpretation of Theatrical Representation:: Two Case Studies

Research output: Contribution to journalArticlepeer-review

Abstract

This paper researches the Hakka Troupe New Paradise’s Ching-Tien Judges the Right Son-in-Law and the Taiwanese Ming Hwa Yuan Arts & Cultural Group’s Supercool Legend of White Snake. It does not compare the Fujian language drama with Hakka language drama, but focus on the comparison of the two performances both added with some Hakka elements in terms of adaptation and representation. By way of theater theories of “adaptation” and “theatricality,” the two troupes are explored to see how they adapt the folk legends into the scripts, observe the signification of adaptation, and how to apply the method of “retheatricalization” to using stage design, light, sound effect, music and actors to “represent” the texts. New Paradise Troupe’s Ching-Tien Judges the Right Son-in-Law in script adaptation extends folk legend to swift the focus on the struggle and tension of family relationship and defense of honor. The traditional drama performing form emphasizes on the actors’ singing, reciting, doing and fighting. Stage design adopts the image design; light design and sound effect belong to be more traditional concept. The audience members sit below the stage to “watch” the performance, instead of “participating in” the performance. In a comparison, Ming Hwa Yuan Arts & Cultural Group’s Supercool Legend of White Snake in script adaptation emphasizes on the white snake and the green snake’s women consciousness and subjectivity. Hsu, Hsien is portrayed as having more feelings and righteousness. Monk FaHai is presented fairly; still maintaining the folk take legend to use him as the spokesman of “canon” and “logo.” Yet the stage performance uses new technology and special effect. The troupe asks the fire station’s favor to mobilize several fire fighter trucks to spray water in hundreds of meters high. The lead actress is suspended in the air by iron. The performance uses big props. Numerous supporting actors play the roles of shrimp soldiers and crab generals in the scene “Gold Mountain Temple in Flood” with spectacle to represent the white snake and Hsu Hsien’s love story. This performance is staged in the outdoor Gym of Hsin Chu County where a lot of Hakka people inhabit. It attracts hundreds of thousands spectators to go there to watch the performance. It breaks the boundary of the proscenium stage to put on the emphasis of having the interaction with the audience members. These two troupes, through “script adaptation” and “theatrical representation,” each transmit their different thinking toward the folk tale legends and the transformation.
Translated title of the contributionSignification of Script Adaptation and Interpretation of Theatrical Representation:: Two Case Studies
Original languageChinese (Traditional)
Pages (from-to)1-26
Number of pages27
Journal客家研究公共事務學報
Volume8
StatePublished - 2013

Keywords

  • adaptation
  • representation
  • Hakka Opera
  • Ching-Tien Judges the Right Son-in-Law
  • Supercool Legend of White Snake

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