臺灣客家影像:全球在地化客家電影與表演藝術


年度:106
作者:段馨君
獎助金額(萬元)25

 

Trace the origin of Shakespeare’s lost play Cardenio, and comment on Hakka Opera Betrayal. Lewis Theobald claimed that his Double Falsehood was adapted from William Shakespeare and John Fletcher’s lost play Cardenio. Hakka Opera Betrayal(Taipei 2014)is inspired by Shakespeare’s Lost Play Cardenio and is staged by Zom-Hsing Hakka Opera Troupe. The Hakka performance script takes reference from Betrayal, the Chinese translation by Ching-Hsi Perng and Chen Feng, inspired from Cardenio in English written by Stephen Greenblatt and Charles Mee. Hakka Opera Betrayal, performed in Hakka language and played by Hakka music, features Taiwan’s local culture and presented by Hakka Opera, similar to the stylization of Chinese Jingju. I argue that, while theatrical mobility may exist in different adaptations, glocalization can integrate translocal cultures and theatrical performing methods. The issues of culture, sex, marriage, betrayal, madness and interculturality are explored in cultural mobility by referring to the locals in Shakespeare’s other plays. By tracing the trademark of Shakespeare’s authenticity, the intertextuality of Shakespeare’s Cardenio and Greenblatt & Mee’s adaptation are explored. In a comparison, Shakespeare & Fletcher’s Cardenio focuses on the homoerotic male friendship echoing Miguel de Cervantes’ Don Quixode; while the Hakka Opera Betrayal emphasizes brotherhood, filial piety, loyalty, and heterosexual love.

 

Keywords: Cardenio, Betrayal, Shakespeare, glocalization, Hakka Opera