| Abstract: | 摘 要
中國古典戲劇中有一類是主要透過衝突，藉著主角面對外在性的衝突與內在性的衝突達成其戲劇任務，它們突顯出濃厚的悲劇色彩。觀眾可以從主角身上體現生活中的反應，從而進行反思。衝突以外，悲劇故事情節亦需要有力的變化和不幸的事件相互配合，如此可以讓觀眾全情投入其中，與角色的情感思維結合在一起。有別於西方主流的悲劇理論，中國一般以圓滿做結，劇中可能還包涵了喜劇的逗趣與幽默性，筆者相信其中的原因在於希望以故事作為道德教化，嚴謹嚴肅，卻又不讓人拘泥其中，輕鬆的方式一方面可以迎合觀眾的喜好，另依方面可以將觀眾從悲傷哀淒的紛圍中帶出來，做一個平復情緒的緩衝。然而，這種喜劇性質結局令不少學者斷言中國悲劇不存在。
紀君祥所著的《趙氏孤兒》是一部具有濃郁悲劇色彩的劇作，其中包涵著自投羅網的諷刺意味，以及中國民族的偉大精神。十八世紀時期，此劇就被翻譯成法文、英文等傳播到歐洲大陸，後來經過如英國作家威廉.哈切特的《中國孤兒：一個歷史悲劇》等不同程度的改編與改寫以及啟蒙思想家伏爾泰的話劇《中國孤兒》等，中西文化傳播交流所碰撞出的火花，在一個好奇探索中國帝制文化和儒家仁義道德的陌生土地上發光發熱。
最後，筆者嘗試在「故事情節改編」、「人物形象塑造」與「悲劇手法運用」三個大方面著手，分別運用西方悲劇理論與王季思的中國悲劇觀念詳加分析，以研討與中國古典戲劇相關的悲劇問題。
;ABSTRACT
There is one mainly through conflicts in Chinese classical drama, through the protagonist facing the external conflicts and internal conflicts to achieve their dramatic task, the color of tragedy is conspicuous by them. The audience can reflect the reactions of life from the protagonist to introspect. Beside the conflicts, the tragedy plot also needs changes and unfortunate events to cooperate with each other, so that the audience can be fully involved in the emotional thinking of the role of the combination. Different from the Western mainstream tragedy theory, China generally to complete in perfectly, the play may also include comedy and humor, the author believes that the reason lies in the hope that the story as a moral education, rigorous and serious, but do not let people adhere to it, easy way on the one hand can cater to the audience′s preferences, On the other side can take out the audience’s sadness to calm down the mood. However, this comic has led many scholars to assert that the Chinese tragedy does not exist.
Ji Junxiang′s "Orphan of Zhao" is a rich tragic drama, which contains the irony of the trap and the great spirit of the Chinese nation. During the 18th century, the play was translated into French, English, etc. spread to the continent of Europe, and passed such as British writer William Hatchett′s "Chinese Orphan: A historical tragedy"and other adaptation rewriting as well as the Enlightenment thinkers Voltaire′s drama "China Orphan" and so on, the sparks of communication between Chinese and Western cultures are glowing in a strange land of curiosity to explore China′s imperial culture and Confucian virtue.
Finally, the author tried to study the tragic problems related to Chinese classical drama by analyzing the three aspects of "plot adaptation", "character image shaping" and "tragic manipulation using", respectively using the Western tragedy theory and Wang Jisi′s Chinese tragic idea. |
