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民国时期,在华的天主教印书馆出版了一批依据圣经故事改编的戏剧作品,其形式多样,有中国本土多种传统曲艺,也有现代话剧。这批剧作多次重版,部分还在重要节庆搬上舞台演出。戏剧对于天主教在中国的传播影响颇为深远,但至今仍鲜为学界关注。本文以武国栋的《古圣若瑟白话演义》(1925)为个案,从人物冲突、若瑟形象、神学解读、道德教化、诙谐效果等方面,考察剧作者对圣经的改编策略。《古圣若瑟白话演义》的“演义”力求把“教”与“乐”的张力加以调和,除了强调其神学及道德教化的意义,亦在剧本写作上尽力追求文学性,以符合戏剧本身的要求,也刻意营造了诙谐效果,把信徒身心的消遣和宗教的潜移默化结合起来,达至“寓教于乐”的效果。本研究有助填补汉语天主教戏剧研究,以及圣经在华接受史的一大空白。
During the period of the Republic of China, a series of theatrical productions based on biblical stories were published by the Catholic Press in China in various forms, including a variety of traditional Chinese folk art and modern drama. These plays have been republished several times and some are still on stage for important festivals. Drama plays a profound and far-reaching role in the spread of Catholicism in China, but it is still little concerned by academia. Based on the case of Wu Guodong’s “St Vincent Vernacular” (1925), this essay examines the adaptation strategies of the dramatis personae to the biblical texts from such aspects as character conflict, Joseph’s image, theological interpretation, moral enlightenment and humorous effect. In addition to emphasizing the significance of its theology and moral education, “Romance ” of “Ancient St Joseph’s Vernacular Romance” seeks to reconcile the tension between “teaching ” and “music Sex, to meet the requirements of the drama itself, but also deliberately created a humorous effect, the believers’ mental and physical recreational and religious subtle combination of up to ”edutainment " effect. This study helps to fill the gap between the study of Chinese Catholic drama and the acceptance of the Bible in China.