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| 篇名 | 馬華歌劇藝術的先聲—《漢麗寶》劇本暨歷年演製狀況研究 |
|---|---|
| 卷期 | 20/21 |
| 並列篇名 | The First Chinese Opera in Malaysia：A Study on the Libretto and Staging Situation of “Hang Li Po” |
| 作者 | 何孟儒 |
| 頁次 | 147-165 |
| 關鍵字 | 馬來西亞 、 歌劇 、 華語歌劇 、 華語藝術歌曲 、 漢麗寶 、 Malaysia 、 Opera 、 Chinese Opera 、 Chinese Art Songs 、 Hang Li Po |
| 出刊日期 | 201310 |
中文摘要
馬來西亞於一九五○年代初期至一九七○年代初期之間，可謂華語歌劇、舞劇與歌舞劇演
出最為興盛的時期，而此一階段又以首部大型歌劇《漢麗寶》的成就最高。《漢麗寶》除了曾
全本演出與演唱外，更曾改編為舞劇，並多次於星馬地區演出。本文除探討該劇改編馬來西亞
史書《馬來紀年》的中國和親故事、漢麗寶公主的姓名問題與劇中的國族認同外，更進一步論
述該劇的中國性、華人流散以及歷年演製狀況等面向，初探性地對《漢麗寶》此齣馬華歌劇進
行檢視與評論。
英文摘要
The most prosperous period of performance of Chinese opera, dance-drama, and musical is from early 1950’s to early 1970’s in Malaysia. Among them, the large-scale opera “Hang Li Po” is the most successful one. “Hang Li Po” was not only shown entire play several times, but also adapted for dance-drama. This Opera performed in Malaysia and Singapore many times. This paper discusses not only the story about Chinese marriage that was adapted from Malay Annals, which is a Malaysian ancient book, but also the problems of the princess’ name and her national identity. What’s more, I discuss the opera about the Chineseness, Chinese diasporas and the performance situation over the years. I hope these discussions can view some comments on this opera preliminary.