從《Proof》看寫實戲劇翻譯
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2010
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2006年，綠光劇團和台北藝術大學一畢業製作先後推出《Proof》；兩造各自翻譯劇本，創造出不同的成品。為了探究翻譯與最終成果間的關係，本文著手比較兩個譯本。本文部份贊同Susan Bassnett晚期論點，同意可表演性缺乏理論基礎，過於主觀且空泛，然認為以寫實主義戲劇而言，潛台詞仍舊是重要且無可否認的概念，對於角色建立有相當重要性。礙於時間與研究規模，本文不探究兩個劇組在製作過程的變數，而是專注在文本分析，並分別以原文文本中所提供的線索，以角色分析後所推論出的潛台詞，作為譯文分析之佐證與品評標準。北藝大的林譯本和綠光的吳譯本翻譯風格迥異：北藝大版本較自由意譯，多處明顯偏離原文，且遣詞用句較文雅，淡化髒話，角色內心衝突的處理有斷裂的情況；綠光版本大體而言恰如其分，唯部份角色內心衝突稍嫌不完整。比較譯文後發現，戲劇翻譯，或至少寫實主義戲劇的翻譯，有牽一髮而動全身的特性。譯本是導演和演員二度創作的基礎，不同譯法代表不同線索，影響角色的塑造與建立，然翻譯行為不可能完全排除譯者個人詮釋，故應以詳盡的劇情與角色分析為基礎，以潛台詞反推，意識到個人詮釋，再選擇提供最多詮釋空間的譯法，或以註釋補充其他可能性。
In 2006, David Auburn’s Proof was translated and produced by Green Ray Theatre and a graduation production of the Department Of Theatre Arts, Taipei National University of the Arts respectively. This essay aims to analyze the differences between these translation versions, and to understand how these differences influenced the characters. This writer partly agrees upon Susan Bassnett’s later argument against performability but argues for the importance of gestural subtext. The concept of subtext is also applied as criticism criteria. Through the comparison and analysis of both translation, this essay wishes to proof that the clues provided in the translation can influence the building of characters greatly, hence the translator should base his/her translation on detailed text and character analysis and on gestural subtext, be conscious of his/her personal interpretation and preserve interpretation possibilities for actors and director.
In 2006, David Auburn’s Proof was translated and produced by Green Ray Theatre and a graduation production of the Department Of Theatre Arts, Taipei National University of the Arts respectively. This essay aims to analyze the differences between these translation versions, and to understand how these differences influenced the characters. This writer partly agrees upon Susan Bassnett’s later argument against performability but argues for the importance of gestural subtext. The concept of subtext is also applied as criticism criteria. Through the comparison and analysis of both translation, this essay wishes to proof that the clues provided in the translation can influence the building of characters greatly, hence the translator should base his/her translation on detailed text and character analysis and on gestural subtext, be conscious of his/her personal interpretation and preserve interpretation possibilities for actors and director.
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戲劇翻譯, 寫實主義, 潛台詞, Dramatic translation, realism, gestural subtext