從書面到台面：從綠光《開心鬼》談戲劇的三度翻譯

Abstract

翻譯劇作一直以來是台灣劇場發展的一股甘泉。以往研究戲劇翻譯，多半是憑藉不同譯本，進行文本比對分析，並以譯本是否具可表演性做為評斷優劣標準。然而一齣戲劇製作，是一個把紙本搬上舞台的過程，其中不僅涉及最初的全譯本，還有劇團因地制宜的刪改本，以及最終呈現的演出本，每一個階段，都是一次翻譯；劇本從譯界跨到劇界，經過多雙手操弄，從平面文字變為立體演出時，發生不少轉變，因此翻譯劇本是否適合演出，並非只是譯者個人的責任，也並非單就書面譯本便能評價。但至今尚無人研究台灣翻譯劇作從頭到尾的搬演情況。

本研究擬以筆者參與綠光劇團《開心鬼》製作為研究個案，實際觀察從文本到舞台的翻譯過程。筆者將戲劇翻譯過程分為「三度翻譯」，每個階段都會產生一個新的文本——譯者本、導演本與演員本。譯者本處理語言問題，導演本處理文化改編，演員本處理口語及動作。筆者在排練場以譯者身分和劇團對話，體驗譯者、導演與演員在劇本操作上的互動關係。期望此研究能以實務角度，描摹出台灣戲劇翻譯製作的全貌，並提供翻譯建議，供劇本譯者參考。

Translated plays have long facilitated the development of theater in Taiwan. Previous drama translation studies mostly focus on text analysis and comparison, and stress the performability of the translation. A production of a translated play, however, is a page-to-stage process which involves not just the primitive translated text, but the adapted version under considerations of the theater troupes and the finalized performance text on stage. Since the original play undergoes the manipulation of many hands and is greatly transformed from words into performance, whether it is performable cannot be determined solely by the translator or the translated text.

The writer participated in the Greenray Theatre Company’s production of Blithe Spirit for an observation of the transformation of the text and the actual theatrical production. The writer divides the whole process into three phases, in each of which a new text is formed—the translator’s text, the director’s text and the actor’s text. In the first phase, the translator solves the linguistic problems. In the second phase, the director deals with the cultural adaptation. In the third phase, the actors put the words into speech and action. The writer also examines the interaction among the translator, the director and the actors in terms of their manipulation of the text. The goal of the research is to provide a clearer idea of how a translated text is put into performance in Taiwan’s theater productions, and offer translating suggestion for future translators.