《杜蘭朵公主》是義大利作曲家賈科莫．普契尼（1858-1924）創作中著名的歌劇作品之一。歷時兩百多年，這部傑出的跨文化歌劇作品從波斯民間故事轉變為舉世聞名的義大利歌劇，而這位聞名遐邇的中國公主，已從波斯，法國，義大利，中國遊歷至世界各地。如今，《杜蘭朵》這部歌劇在世界各大歌劇院中仍是極其重要及受歡迎的基本劇目，而在歷史和審美層面更是別具特殊的地位。
然而，《杜蘭朵公主》這部歌劇雖然在音樂及藝術成就方面受到了崇高的讚譽，但在學術界飽受批評。許多學者們認為，這部歌劇是「種族傲慢的無意識表現」。更準確地說，歌劇中的東方想像，以及以西方為中心的中國論述，將《杜蘭朵公主》推向了東方主義的領域，成為討論，批評東方主義論述時的重要常客。有鑑於此，當代許多音樂家、藝術家紛紛嘗試豐富舞台上的中國元素，抑或嘗試用自己的詮釋重新演繹普契尼的歌劇，試圖擺脫東方主義的論述範疇。然而，這些重新演繹的作品是否成功地消弭了以西方為中心的話語，始終是個值得令人深入探討的問題。
為了進一步探討上述議題，本研究將著重分析《杜蘭朵公主》這部歌劇的兩個當代版本，分別為1998年北京紫禁城實況演出版以及2013年英國皇家歌劇院版。首先，本文從大量的文獻資料閱讀中，梳理出普契尼歌劇《杜蘭朵》的發展脈絡，並勾勒兩個當代版本的導演經歷、創作概況以及大眾和專家們的評述。接著，從東方主義的理論範疇，本研究深入探討張藝謀和安德烈．塞爾班兩位導演於《杜蘭朵公主》中對於東方元素呈現的認知、調整及運用。藉由這些脈絡，本文將進一步比較這兩個歌劇版本是如何詮釋《杜蘭朵公主》這部跨文化歌劇，分析兩種詮釋有何異同，並闡釋、比較這個兩個版本是如何回應東方主義之論述。

Turandot is one of the best-known opera pieces composed by the Italian musician Giacomo Puccini. For over two hundred years, this outstanding cross-culture work shapeshifted, translating from a Persian folk story into a French tale, being adapted numerous times, and ultimately becoming a much beloved Italian opera that spread worldwide. Nowadays, Turandot still occupies an important place in the repertory of many operas and is significant through its historical and aesthetical aspects.
However, while Turandot has received praise for its musical achievement, it has also been criticized in the academic field. Scholars like William Ashbrook and Harold Powers considered it an “unconscious manifestation of racial arrogance (Ice Queens, Rice Queens, and Intercultural Investments in Zhang Yimou’s Turandot, 210). To be more specific, Turandot’s manifest orientalism has made it a commonly visited topic in Orientalist criticism. Aware of this, contemporary artists have attempted to enrich the Chinese elements on stage or tried to recreate Puccini’s opera with their own interpretations. However, whether these productions have successfully escaped from the inherent orientalism of Puccini’s work is problematic.
To explore this issue, in this dissertation I focus on two productions of Turandot, namely the Beijing Forbidden City staging (1998) and the London Royal Opera House version (2013). This study first discusses the development of Turandot and outlines the directors’ experiences, creation processes, and general reception of their productions. Next, from the theoretical scope of Edward Said’s Orientalism, I examine the staging of Turandot by two world-famous directors, namely Zhang Yimou and, respectively, Andrei Șerban. Furthermore, I engage in comparative work about how the two productions interpret the opera, what the similarities and differences between the two interpretations are, and, most importantly, how they respond to Orientalism.

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