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| 全球莎士比亞與在地哈姆雷特：兩部莎士比亞電影改編 |
| Global Shakespeare and Local Hamlets: Two Film Adaptations of Hamlet |
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| 作者 |
吳怡芬 |
| Author |
I-fen Wu |
| 關鍵詞 |
全球莎士比亞、
《夜宴》、
《海德》、
電影改編、
在地性、
根莖理論、
文化同質性／異質性
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| Keywords |
Global Shakespeare,
The Banquet,
Haider,
film adaptation,
locality,
rhizome,
cultural homogenization/heterogenization
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| 摘要 |
莎士比亞（William Shakespeare, 1564-1616）的全球魅力日益增加，顯見於他的作品於全世界各地舞台、電影，以及其他不同形式的改編。莎士比亞學者裘彬（Alexa Alice Joubin）指出，全球莎士比亞儼然成為一種文化現象，建議全球與莎士比亞應該變成「同義字」（synonyms）。她認為全球莎士比亞之所以重要，在於其關注的焦點常與在地息息相關。全球莎士比亞的價值在於它所涵蓋的形形色色，以及它能夠彰顯在地莎士比亞的情境。
這篇論文企圖以兩部莎士比亞電影改編探索在地莎士比亞與全球莎士比亞的連結，認為兩者之間不全然是相反的對比。全球莎士比亞透過在地情境的再想像與再現，將在地帶入全球認知的範疇，成為各種在地莎士比亞的交流頻道，提供一個傾聽各種相異文化發聲的平台。中國導演馮小剛的《夜宴》（The Banquet, 2006），以及印度導演威夏巴達瓦吉（Vishal Bhardwaj）的《海德》（Haider, 2014）顯現《哈姆雷特》（Hamlet） 如何被重置於中國與印度的歷史文化、政治脈絡，展現莎士比亞如何被中國武俠、儺祭面具與印度寶萊塢歌舞重新建構。這兩部電影改編檢視全球莎士比亞文化異質化的一面，探討全球莎士比亞與在地莎士比亞的互動；在地藉由全球流動而突顯其獨特性，全球則因在地性而彰顯其文化豐富性。
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| Abstract |
Contemporary Shakespeare is a window on a new, transnational identity produced by global consumer culture. Shakespeare’s global appeal has increased the appearance of his works on stage, as well as in film and other performative modes in different regions of the world. Shakespearean scholar Alexa Alice Jubin points out that global Shakespeare has become a cultural phenomenon. The value of recognizably global Shakespeare lies in its ability to accommodate a rich variety of differences and many local contexts. According to Joubin, “global Shakespeares” matter because their concerns are inherently local.
This paper will explore the idea of what local Shakespeare might signify for global Shakespeare through a discussion of two film adaptations of Hamlet, Feng Xiaogang’s The Banquet (China, 2006) and Vishal Bhardwaj’s Haider (India, 2014), to reflect on how these filmmakers re-imagine Shakespeare in ways that frame Shakespeare within Chinese/Bollywood conventions and situate the Bard in Chinese/Indian cultural contexts. Feng’s and Bhardwaj’s films are successful instances of Shakespeare’s Sinicization/Indianization, and lead us to assume that the global and the local need not necessarily stand in opposition to one another. These film adaptations demonstrate how what is global may be perceived in many local cultural flows. Global Shakespeare, operating as a ground for rhizomatic connections among various cultural locations, verifies its capacity for accommodating local diversity and drawing our attention to heterogeneous voices. |
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