一劇兩吃：從《量‧度》談跨文化改編

Abstract

莎士比亞Measure for Measure一劇，因情節充滿情理法的拉鋸，劇中道德命題直到最後都沒有明確解決，多被專家評為問題劇（problem play）。人物情節的矛盾以及食色性也的背景設定使本劇歷久彌新，西方時有將之改編演出的紀錄。2011年，臺大戲劇系學期製作首演由彭鏡禧教授譯本改編的話劇《量‧度》；隔年，臺灣豫劇團使用同一譯本，由彭教授與師大陳芳教授共同編劇，聯合呂柏伸導演推出豫莎劇《量‧度》，是為三人繼2009年改編《威尼斯商人》為《約／束》後第二次合作。 本研究旨在探討基於同一譯本產生的兩種詮釋作品，其個別的跨文化改編歷程。為了探究戲劇翻譯流變的過程，本研究首先著手比較彭譯本與臺灣讀者歷來接觸到的譯本，探討各譯者的翻譯策略與譯筆風格異同，並以角色經營與喜劇元素的處理作為品評譯本之標準。之後分別探討話劇及豫劇版的《量‧度》在上述面向上運用了哪些改編策略，將原劇「翻譯」給觀眾欣賞，並分析其效果如何。最後搭配訪談，印證並充實上述研究分析，期能詳細紀錄此學術與實務合作之跨文化劇場操作，以供譯者或其他研究者參考。

William Shakespeare’s Measure for Measure has long been commented as a problem play due to the plot full of perplexity among characters from different stands and the unsolved moral judgment. The plot’s lack of timeliness - contradictions between the characters and the erotic but human background setting - has made the play timeless, and Western theatre produces its adaptations every now and then. In 2011, students of the Department of Drama and Theatre of National Taiwan Normal University produced its first Mandarin drama adaptation in Taiwan based on Professor Perng Ching-Hsi’s translation; the next year, with the same translation, Taiwan Bangzi Opera produced the Shake-yuju Measure, Measure! along with co-scriptwriting of the translator and Professor Chen Fang from National Taiwan Normal University. Director Lu Po-Shen was as well being recruited again after their first cooperation on adapting The Merchant of Venice into Shake-yuju Bond. The aim of this research is to discuss about the intercultural adaptation process of the two drama performances derived from the same translation. In order to explore the process of drama translation, the researcher starts with comparing Perng’s translation with other accessible older translations in Taiwan and differentiates translation strategies and styles of the four chosen translators. The translations are further critiqued based on their strategies of managing role-building and dealing with comedy elements. Then, the researcher approaches the adapting strategies of the drama and Bangzi Opera on how the creators worked to “translate” the original play into those two praised by the audience. Lastly, interviews with the creators are included so that the researcher may confirm and enrich the above analysis. The goal of the research is to keep record of this intercultural theatre experience made possible by academic and practical cooperation, and offer suggestions for future translators or researchers.