百年傳奇的現代演繹──〈金鎖記〉小說改寫與影劇改編的跨文本性

Abstract

張愛玲將家族故事改寫為中篇小說〈金鎖記〉，又幾番改寫為《怨女》，從徹底到不徹底，從悲壯到蒼涼，寄寓作者心境和世情態度的轉變。普通人的傳奇，在張愛玲筆下獲得永生，後代影劇改編多融會兩部小說，改編者各依所處的時空背景、對原著的觀點作出不同的詮釋。忠於原著的大陸電視劇《昨夜的月亮》和中影《怨女》，仿若張愛玲回歸中國的預言和移植來台的隱喻。大陸連續劇《金鎖記》為迎合商業市場，將原著質變為類瓊瑤劇，又注入現代西化精神並強化反封建色彩。王安憶改編話劇強化了原著的批判性，往左翼文藝強烈控訴的路線偏移。林奕華《兩女性》和劉亮延《曹七巧》兩齣港、台實驗劇，皆擷取原作部份元素借題發揮、挪用改裝，以與時代現象連結。國光新編京劇結合傳統與現代，欲再現張愛玲華麗與蒼涼的精神，無形間也顛覆了傳統京劇的倫理教化意味。兩岸三地改編者對原著作者和小說的態度各異，但都賦予更多現代性元素、更具象化的呈現，不僅是過往傳奇的回聲，更是轉化媒介的再創作。

The rewrote of Eileen Chang’s family story became the novelette “The Golden Cangue”, which was then revised again into “The Rouge of the North”. From complete to incomplete, from being heroically tragic to bleakness, Chang’s change of attitude to the world and herself was revealed from her works. Hence a normal life became a legend, and obtained an eternal life through Chang’s writing. Various adaptations tended to mix the two novels with the expression of the adaptor’s own notion and the time/space position. “The Rouge of the North” made by the Central Pictures of Taiwan tried to stay true with the original. With localized Taiwan new age film making style, though, the film became a metaphor where Chang’s life got transformed to Taiwan. The same drama made by mainland, in the mean time, added not only too much romantic elements but also modern westernization spirit and anti-feudal issue. The end result was more like a soap opera for commercial market. The play write recreated by Anyi Wang focused on the critique elements in the original work and strengthen the intense complaint following the tradition of leftwing literary. Wang was able to bring out the vivid characteristics of the work and made the denouement even more tragic. Hong Kong director Edward Lam’s “Two Women” and Taiwan director Liang-Yen Liu’s “Ciao, Ci Chao” were two experimental plays selected only ingredients from Chang’s original work to express their own idea and to connect with the phenomenon of the era. As to the newly edited Peking opera by National GuoGuang Opera Company, the ethics and enlightenment was overturned. The goal was to combine the traditional presentation style with Chang’s relatively new work, and recreating Chang’s spirit through the demonstration of magnificent and desolate on the same stage. The recreation of Chang’s original works from Taiwan, Hong Kong, and Mainland China all enriched the originals with modern elements, colorful presentations, as well as different respects. These recreations are not merely echos to the legend but the re-production with modern spirit.