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《徐棻戲劇選（上下捲）（漢英對照）》是著名劇作傢徐棻的經典名作。本書有兩大特點。第1個特點是文本漢英對照，便於外國人瞭解川劇，進而瞭解中國文化；第二個是翻譯者由美國人白靈芝（Liza Bielby）領銜，她曾在四川省川劇學校專修川劇錶演，現仍從事戲劇錶演行業，因而本書譯文不僅地道，還適閤舞颱錶演。可以作為戲劇進學校的備選。

內容簡介

《徐棻戲劇選（上下捲）（漢英對照）》選收瞭知名劇作傢徐棻的八個川劇劇本《死水微瀾》《莊子與田氏》《欲海狂潮》《馬前潑水》《目連之母》《塵埃落定》《馬剋白夫人》《紅梅記》，采用漢英對照的方式齣版，對擴大川劇的影響，對四川地方戲劇——川劇的走齣去，都有一定的積極意義。

作者簡介

作者：徐棻，國傢一級編劇，終身享有國務院政府特殊津貼。曾任四川省政協常委，四川省文聯副主席、四川省劇協副主席。有多部劇作問世，曾3次榮獲“曹禺戲劇文學奬”，兩次榮獲“文華大奬”及“五個一工程奬”，三次獲得中國戲劇節的“優秀劇目奬”等。

譯者：（美）白靈芝，美國欣特蘭實驗戲劇團藝術總監，美學碩士，曾到四川省川劇學校研習多年，參與和負責瞭許多翻譯、閤作創作和推廣川劇的項目。金學勤，四川大學英語教授。硃江芹，四川大學翻譯碩士，目前在電子科技大學格拉斯哥學院任教。張羽軍，先就讀於清華大學英語係，因院係調整而畢業於北京大學。供職於四川人民藝術劇院，從事戲劇評論及翻譯國外戲劇。

內頁插圖

目錄

目 錄

CONTENTS

上　捲

Volume 1

川劇簡介 002

A Brief Introduction to Sichuan Opera 003

死水微瀾 010

Ripples in the Stagnant Water 011

欲海狂潮 082

Raging Waves in the Sea of Desire 083

目連之母 142

Mulian’s Mother 143

塵埃落定 208

Red Poppies 209

下　捲

Volume 2

莊子與田氏 002

Zhuangzi and Tianshi 003

馬剋白夫人 072

Lady Macbeth 073

馬前潑水 088

Spilling Water in Front of the Horse 089

紅梅記 160

The Story Under the Plum Blossom Tree 161

徐棻戲劇齣版物一覽 220

Overview of Xufen.s Published Dramas 221

前言/序言

川劇簡介

一、川劇和中國戲麯

川劇，是中國戲麯的一種。戲麯，是唯有中國纔有的一種戲劇樣式。戲麯成型於元代，1240年就被稱作“戲麯”，至今已有七百多年。

中國地域寬廣。因地方語言和民間音樂的差異，先先後後形成瞭三百六十多種“地方戲麯”。這些地方戲麯用自己所在的地名命名，比如，北京的戲麯叫“京劇”，四川的戲麯叫“川劇”。川劇是戲麯中的古老劇種，已有二百八十多年曆史。

雖然語言和音樂不同，但各個地方戲麯都是由劇本文學、聲樂與器樂、說唱藝術和舞蹈、美術、武術、雜技等綜閤而成。這種高度的綜閤性構成瞭中國戲麯的藝術特點。各個地方戲麯都是在這種藝術特點中，去展現其不同的地域個性。

由於戲麯中音樂的分量很重，西方人便用“歌劇”這個詞語來稱呼“戲麯”。把京劇叫作“北京歌劇”，把川劇叫作“四川歌劇”。其實，“中國戲麯”和“西方歌劇”是兩種完全不同的藝術。

A Brief Introduction to Sichuan Opera

1. Sichuan Opera and Chinese Opera

Sichuan Opera (chuanju) is a type of Chinese Opera (xiqu), a style of theatrical performance unique to China. Chinese Opera was formed in the Yuan Dynasty; in 1240 these “melodic (qu) plays (xi)” were first designated, giving the form a history of over 700 years.

China’s territory is vast. Because of the differences in regional dialect and folk music styles, over 360 different kinds of “regional Chinese Operas” (difang xi) have formed. These regional Chinese Opera styles are named after their place of origin; for example, Beijing’s Chinese Opera style is called “Beijing Opera” ( jingju), Sichuan’s Chinese Opera is called “Sichuan Opera” (chuanju). Sichuan Opera is one of Chinese Opera’s ancient forms, with over 280 years of history.

Despite differences in dialect and music, each of the regional Chinese Opera forms is a composite art form, similarly consisting of dramatic literature, orchestra and percussion, vocal work and dance, aesthetics, martial arts, acrobatics and more. This high degree of comprehensiveness is one of the Chinese Opera art form’s special characteristics. On the foundation of this key characteristic, each regional Chinese Opera form has developed its own geographic personality.

Because of the importance of music in Chinese Opera, Westerners have used the term “opera” (in Chinese: geju, ge –musical, ju –theatre) to translate “Chinese Opera” (in Chinese: xiqu, xi – plays, qu – melodic), making “jingju”（ jing from “Beijing,” ju – theatre) into Beijing Opera and chuanju (chuan from “Sichuan,” again, ju – theatre) into Sichuan Opera. However, what is called “Chinese Opera” and what is understood by “Western Opera” are two different art forms.

中國戲麯是一種高度綜閤的民族藝術。唱、念、做、打、舞在演員身上的有機構成，是戲麯綜閤性最集中、最突齣的體現。唱，指演唱；念，指朗誦和對話；做，指形體和錶情；打，指打仗、格鬥等動作；舞，指錶現人物情緒或戲劇場麵的舞蹈。戲麯以唱、念、做、打、舞的綜閤錶演為手段，呈現為一種形式感極強的戲劇。川劇也是這樣一種形式感極強的戲劇。

二、戲麯（川劇）的虛擬性、程式性、寫意性

戲麯舞颱是一個基本不用布景裝置的舞颱。戲劇環境的確立，是以人物的活動為依據。人物上場錶演瞭，舞颱上就有瞭戲劇環境；人物下場之後，舞颱就是一個抽象的空間。比如，一個人上場，說自己進城瞭，那麼舞颱上就是城市。然後他說要齣城過河，這時他從舞颱一邊走到舞颱另一邊，那麼舞颱上的環境就從城裏變成瞭河邊。這時，有個船夫劃著槳上場瞭，那麼舞颱上的環境就是河邊來瞭一條小船。這人做一個跳上船的動作，船夫再用形體動作錶示劃船，那麼舞颱上的環境就是一條船行駛在河流中。從以上的描述可以看齣，戲麯藝術的重要特徵是非物質的虛擬性。它通過演員的動作和颱詞，來錶現舞颱上的時間和空間，以及舞颱時空的轉換。川劇和所有的

Chinese Opera is a kind of highly composite folk art. Through the organic composition (via actor’s body) of “singing” (chang), “reading” (nian), “doing” (zuo), “fighting” (da), and “dance” (wu), Chinese Opera’s composite nature is most comprehensively and prominently reflected. “Singing” refers to the actor’s singing; “reading” refers to recitation; “doing” refers to physicality and expression; “fighting” refers to battle and combat actions; “dance” refers to performance of a character’s emotions or dance within the drama’s scenes. Through a combination of the means “singing, reading, doing, fighting, and dance,” Chinese Opera is presented as a strongly form-based drama; thus, Sichuan Opera should also be considered a strongly form-based drama.

2. Chinese Opera (and Sichuan Opera／chuanju) and its mime, codification, and “freehand” aesthetic

The Chinese Opera stage is one that for the most part does not use scenic backgrounds. The establishment of the theatrical environment is done through the activities of the characters. When the characters are on stage performing, the stage will have a scenic environment; after the characters exit the stage, the stage is simply an abstract space. For example, a person enters the stage, says he is coming into the city; thus, the city is on the stage. Afterwards, he says he wants to leave the city and cross a river. At this point, he moves from one side of the stage to the other; now the environment onstage has changed to a riverside. At this point, a boatman rowing an oar enters; now the environment onstage is a riverside where a small boat has arrived. The man makes a jumping motion as if jumping on to the boat, and the boat man begins to use movements indicating rowing again; now the environment onstage is that of a boat moving down a flowing river. From the above description you can see one of the most important features of Chinese Opera is its non -material based mime. Through the performer.s movements and text, the time and space of the stage is expressed, as well as the transformation of said time and space. Sichuan Opera and all other regional Chinese Opera forms all use this

地方戲麯一樣，都是這種演齣方式。最近幾十年，戲麯舞颱開始有瞭布景裝置。但這些布景裝置，都力求不影響演員錶演的虛擬性。

虛擬性的戲麯錶演動作，當然與生活中的動作不同。比如前麵說的走路、上船、劃船等動作，都必須閤乎戲麯的程式。程式，就是把生活中的動作提煉、概括、美化而形成比較誇張的、有舞蹈意味的規範。戲麯演員在舞颱上錶演關門、上樓、開窗、騎馬、劃船、走路、打仗、行軍等生活動作，包括每個人物的一舉一動、一顰一笑，都有固定的程式。這些程式是戲麯演員必須遵守的錶演法則，是戲麯演員的基本功，就像芭蕾舞的腳尖、托舉和跳躍一樣，每個戲麯演員都要接受嚴格的基本功訓練。沒有程式的基本功，演員無法錶演戲麯。程式基本功的好壞，決定戲麯演員的藝術水平。

戲麯錶演的程式雖然是固定的、規範的，但也要與生活的真實感相結閤。比如，在劃船的程式動作中，船是虛的，但槳是實在的。在騎馬的程式動作中，馬是虛的，但馬鞭是實在的；演員劃船、揮鞭或者在船上、在馬背上的狀態，都必須符閤戲麯的程式，同時也必須符閤人們的生活感受。程式動作通過演員的形體和錶情體現，這種體現就叫“身段”。

戲麯有“三五步行遍天下”的說法。當戲麯中的人物用颱詞說明他要去的地方，同時從舞颱的一側走到另一側時，他就已經到瞭目的地。不管他走

kind of performance style. In recent decades, Chinese Opera stages have begun to use scenic elements. However, these scenic elements all strive to not affect the performer’s mimed performance.

Mimed actions within Chinese Opera performance of course are different from everyday actions. For example, in the description above, the actions of walking, boarding the boat, rowing, etc., all must adhere to the codification of Chinese Opera. Codification, then, is the process of taking everyday actions and refining them, generalizing them, aestheticizing as well as forming them to have a more exaggerated, dancelike specification. Chinese Opera performers, when performing daily actions on stage such as closing a door, ascending a staircase, opening a window, riding a horse, rowing a boat, walking, fighting, marching – every move of a character, their every facial expression – all use a fixed codification for said actions. This codification is a performance rule every Chinese Opera artist must obey; it is the “basic skill set” of a Chinese Opera performer, just as a ballet dancer must have strong toes, good lift, and solid jumps, and every performer must receive strict “basic skill set” training. Those performers without this “basic skill set” cannot perform Chinese Opera. Whether one.s “basic skill set” is strong or weak will determine a Chinese Opera performer.s artistic quality.

Although the codification of Chinese Opera performance is fixed and standardized, it does want to be combined with everyday realism. For example, as one is performing the codified action of rowing a boat, the boat is mimed but the oar is real. When performing the codified action of riding a horse, the horse is m 徐棻劇作選 下載 mobi epub pdf txt 電子書 格式