戏文《杀狗记》的重新演绎——论改编粤剧《杀狗记》的叙事结构

《杀狗记》为中国四大南戏之一，由创作至今历近六百年，改本繁多，而现存最早的版本为明代冯梦龙的改定本。《杀狗记》的改本众多，且流传甚广，以20世纪粤剧为例，从1999到2000一年间就出现了两个《杀狗记》改本——区文凤改编的《杀狗记》、阮兆辉改编的《杀狗劝夫》。钱南扬认为《杀狗记》屡遭删改是由于其剧情不合理，且篇幅过长，故本文以中国传统戏曲结构理论结合西方叙事结构理论，研究及分析粤剧《杀狗记》改本在叙事结构上的改编及动机。总括来说，区本成功以角色带动及重新组合原本拖沓冗赘的原文，并突显主要角色之间对立关系，加强戏剧的冲突和张力，令全剧更见紧凑；改本更突出了戏曲中的"真情"，并见证当代社会的现象和诉求。

Shagou Ji, one of the four prominent Nanxi written in the Yuan Dynasty has been widely adapted in various forms and dialects for six hundred years in China. Based on the study conducted by Qian Nanyang, the esteemed scholar in the study of Nanxi, the earliest adapted version of Shagou Ji was produced by Feng Menglong in Ming Dynasty. Taking the 20th century Cantonese play as an example, there are at least two adapted versions of Shagou Ji produced by Bernice Au and Franco Yuen respectively from 1999 to 2000. Qian Nanyang, has also remarked that one of the reasons behind the extensive adaptation is to improve the loose structure of the play. Building on the traditional Chinese operatic structure theory and narrative theory from the structural semiotic perspective, this study investigates the motif and adaptation of Au's version of Shagou Ji. We found that Au's version has managed to improve the loose structure of the Feng's version by restructuring the scenes and reinforcing the dualism of opposing characters in the play while highlighting the function of leading characters and power of sincerity, a core element in Chinese opera.