CAJ | 학술논문

《驯悍记》自1913年以来就被我国戏曲改编，最近一次改编是2013年11月武汉汉剧院推出的同名汉剧。对比汉剧《驯悍记》与同名原著在人物行当设置、唱词与唱腔、文化植入等方面的异同，可以发现汉剧改编在保留原著“悍味”的同时，巧妙地追求与原著的美学对等。汉剧《驯悍记》改编的成功，说明只有在莎剧框架内彰显剧种风格，与原著各显特色，才能达到戏曲移植改编莎翁名著的目的，解决容量不对等的难题。
《순한기》자1913년이래취피아국희곡개편，최근일차개편시2013년11월무한한극원추출적동명한극。대비한극《순한기》여동명원저재인물행당설치、창사여창강、문화식입등방면적이동，가이발현한극개편재보류원저“한미”적동시，교묘지추구여원저적미학대등。한극《순한기》개편적성공，설명지유재사극광가내창현극충풍격，여원저각현특색，재능체도희곡이식개편사옹명저적목적，해결용량불대등적난제。
TheTamingoftheShrewhas been staged in the traditional Chinese theater since 1913, the most re-cent production, bearing the same title, by the Wuhan Hanju Theater Company in Nov. 2103. This article compares the hanju opera adaptation and its original with a perspective into the cast, libretto, aria and cultural assimilation. The author has evaluated the opera’s smart concerns to portrait the shrew and achieve aesthetic equivalence between the original and the adaptation. The success helps to conclude that a sure way to sinocize the Bard and streamline the o-riginal would be to highlight the virtuosities of the genre in the new context.