Theatrical Hybridity, Thy Name Is Conflict： A Case Study on Holo Taiwan Residents Opera Troupe＇s Tai Tzu Fu Chou （The Prince＇s Vengeful Plan）

作     者：CHEN Jui-sung LEE Shin-yi 

作者机构：Mingdao University Changhua Taiwan China Medical University Taichung Taiwan 

出 版 物：《Journal of Literature and Art Studies》 (文学与艺术研究（英文版）)

年 卷 期：2015年第5卷第9期

页      面：717-722页

学科分类：1303[艺术学-戏剧与影视学] 13[艺术学] 070207[理学-光学] 07[理学] 08[工学] 0803[工学-光学工程] 0702[理学-物理学] 

主　　题：intercultural performance Taiwan Residents Opera theatrical hybridity cultural collage cultural conflict Shakespeare 

摘      要：Holo Taiwan Residents Opera Troupe has produced a series of intercultural performances in Taiwan Residents Opera since the troupe adapted Nikolai Vasilievich Gogol＇s （1809-1852） The Government Inspector in 1996. In fact, there is a huge controversy over these intercultural performances which fuse western drama with traditional Taiwan Residents performing art because such a kind of theatrical hybridity lacks the spirit of the original and damages the aesthetics of native performing art practice. In 2002, Holo adapted William Shakespeare＇s Hamlet into a six-hour-long performance, Tai Tzu Fu Chou （The Prince＇s Vengeful Plan）, which the troupe tried to explore new source for traditional Taiwan Residents Opera and expected to bring something new to Taiwan Residents audience. However, The Prince＇s Vengeful Plan is considered ＂cultural collage＂ as well as an unsuccessful intercultural performance. Besides, The Prince＇s Vengeful Plan is accused to blaspheme Shakespeare because the performance merely maintains the frame of the original and distorts the spirit of the original. According to Rustom Bharucha, the most problematic aspect of intercultural performance is ＂de-historicizing tendency＂, and such a condition explains why Holo＇s The Prince＇s Vengeful Plan cannot transcend the original. In order to detect the problems of intercultural adaptation in Holo＇s The Prince Vengeful Plan, we cover the related issues in three aspects： （1） to discuss the development of Taiwan Residents Opera in Taiwan; （2） to explore the cultural conflicts when the text of the source culture is adapted into the performance of the target culture; and （3） to see how and why the spirit and aesthetics of Shakespeare＇s verses in Hamlet are distorted in Holo＇s theatrical adaptation. After that, we expect to conclude the impossibility of adapting Shakespeare＇s play into traditional Taiwan Residents Opera in the case of Holo＇s The Prince＇s Vengeful Plan.