湯顯祖《牡丹亭》的改寫與翻譯：分析青春版《牡丹亭》

Abstract

白先勇領銜策畫的青春版《牡丹亭》在2004年一推出即受萬眾矚目，在海內外的票房上大有斬獲，扭轉了崑曲自清末以降曲高和寡、觀眾老化的態勢。有鑑於此，筆者推測青春版之所以創下票房佳績，之所以能吸引年輕人、非中文母語者進入崑曲演出的劇場，勢必與製作團隊的「翻譯策略」息息相關。因此，本文將以翻譯的視角觀察青春版的製作特色，一方面藉薩伊德的旅行理論、米勒的翻譯即「跨越邊界」理論探討湯顯祖的《牡丹亭》〈閨塾〉、〈驚夢〉兩齣戲跨越時空邊界後演出形式的轉變與現代意義，進而分析演出中的各式媒介共同詮釋文本的方式；另一方面從語際翻譯的觀點探究上述兩齣戲的字幕英譯策略，進而了解譯者在翻譯字幕時強調與代償的部分如何影響非中文母語觀眾對《牡丹亭》的理解和欣賞。

The Peony Pavilion: Young Lovers’ Edition is a modern adaptation of Tang Xiangzu’s masterpiece The Peony Pavilion. Since it was first performed in 2004, Young Lovers’ Edition has been seen by more than 800,000 theatergoers. By any measure, the adaptation, carried out and supervised by noted Taiwanese writer Pai Hsien-yung, can be considered a tremendous success. This thesis proposes to examine Pai Hsien-yung’s adaptation of The Peony Pavilion by using the traveling theory of Edward Said and theborder crossings theory of J.H. Miller. It also asks how Pai’s stage version of the play differs from other previous performances. Finally, it examines how the English surtitles and subtitles of the Young Lovers’ Edition might have influenced the non-Chinese speaking audience’s understanding of the play.