從《改編理論》看舞台劇《春眠》的跨文化行旅

Abstract

1999年，孟若（Alice Ann Munro）的小說《熊過山來了》於《紐約客》雜誌發表，並於2001年收錄於一部小說集中；2011年，啟發自《熊過山來了》，台灣劇作家簡莉穎創作了舞台劇《春眠》，於2012年首演。這一部戲劇從加拿大的土壤，歷經時空、文化的移轉，跨越傳達的媒介，來到風景迥異的台灣，不是單純的「拿來主義」，而是在對原作人物關係、社會背景、主題的理解上，重新構建的本土化故事。本篇論文以赫其恩（Linda Hutcheon）的《改編理論》為基，旨在探討文化背景如何影響二部作品，而作品又如何還原「彼時世代」之樣貌；此外，探討台灣劇作家對加拿大作品的詮釋，以及舞台演出對劇本的詮釋及呈現方式；最後，總結二者在主題上的共通與差異之處。In 1999, Alice Ann Munro's short story "The Bear Came Over the Mountain" was published in The New Yorker magazine. In 2001, a collection containing this short story was published. In 2011, inspired by "The Bear Came Over the Mountain", Taiwanese playwright Chien Li-Ying created the stage play Sleep in Spring, which premiered in 2012. This theatrical production, originated from the Canadian soil, traversed through time, culture, and different medium, arriving in Taiwan with a distinct landscape. It is not a mere act ofappropriation but a localized reconstruction of the story, reinterpreting the characters' relationships, social background, and themes within the Taiwanese context. This thesis is grounded in Linda Hutcheon's A Theory of Adaptation and aims to explore how cultural contexts influence two literary works and how these works reconstruct their 'bygone era'. Additionally, it explores the interpretations of Canadian works by the Taiwanese playwright as well as the ways in which the scripts are interpreted and presented in stage performances. Lastly, it seeks to summarize the thematic commonalities and differences between the two works.