台南人劇團台語《馬克白》：改編、翻譯與表演所彰顯之女性聲音

The Tainaner Ensemble's Shakespeare Unplugged-Macbeth: The Manifestation of Female Voice in Adaptation, Translation, and Performance

陳怡伶(Yi-Lin Chen)

《戲劇學刊》 14期 (2011/07) Pp. 41-61

https://doi.org/10.29776/TTJ.201107.0002

摘要

摘譯自莎士比亞的《馬克白》，台南人劇團的《女巫奏鳴曲―馬克白詩篇》(2003)和《莎士比亞不插電3-馬克白》(2007)強調女性權力的提昇震撼男性為主的權力世界，挑戰傳統悲劇《馬克白》中男子氣概的陽剛氣質。改編劇刪除大部分的打鬥場面，拒絕張揚雄性暴力與戰爭場面。在大幅刪減男性角色後，女性影響力也明顯擴張。女巫成為貫穿十三場景的主要角色，女巫頻繁出現的身影，提示她們對馬克白及其夫人的影響力。同時，馬克白夫人與女巫共舞的片段，暗示她自甘墮落，成為女巫一員，進而控制丈夫，獲得統治權力。本研究旨在改編、翻譯與表演過程中，探索此劇中女性聲音崛起和女性人物的重要。首先，改編手法呼應西方女性主義者對《馬克白》的批評和注釋。並且，台語翻譯力求韻律感，雖然無法全然保持莎劇詩詞中原有的節奏感，但卻製造屬於台灣語言應有的音樂旋律。在表演上，女演員藉由不同變化的人聲，如唱歌、吟唱、叫囂、尖叫聲等，增加說話以外的音域使用，讓聲音巧妙的成為輔助音樂。為了讓聲音共鳴更佳，女巫身體的律動也配合吟唱聲音的高低而起伏。在唸白與吟唱詩歌之際，肢體表演戲劇化女性所扮演的角色，進而強化其角色在劇中的重要性。

關鍵字

馬克白 ； 台南人劇團 ； 西方女性主義莎劇評論 ； 聲音表演 ； 改編劇 ； 台語翻譯

並列摘要

Derived from Shakespeare's Macbeth, Tainaner Ensemble's Sonata of the Witches-The Macbeth Verses (2003) and Macbeth (2007) highlighted how the rise of female power intimidated a male-dominated world. The significance of the Tainaner Ensemble's Taiwanese adaptations, as a whole, was its challenge to the tradition of underlining the masculinity in Macbeth. By omitting most battle scenes, the adaptations refused to worship masculine violence and wars. After a severe cut of male roles, the expansion of female influence was obvious. Three witches were featured as the main characters to interlock all thirteen scenes. The regular presence of the witches reminded audiences of their influence on Macbeth and his wife. In the meanwhile, Lady Macbeth danced with the witches, implying her fall into becoming a witch to control her husband and seize the reign of government. This paper aims to investigate the rise of female voices and the importance of female characters in the process of adaptation, translation, and performance. First of all, the adaption positively responded to criticism and commentaries addressed by western feminists. Furthermore, the Taiwanese translation made efforts to seek rhythm; although the translation could not fully keep original rhythm, it offered a musical melody belonging to Taiwanese language. In performance, female actors used human voices, such as singing, chanting, shouting and screaming to increase the use of vocal range and their voices became an important supplement to music. To better the sound resonance, the witches move up and down accordingly with the variation of pitches in their singing. In chanting and singing the poetry, the body movement dramatized the roles the females portrayed and strengthened further the importance of the roles in the adaptation.

並列關鍵字

Macbeth ； Tainaner Ensemble ； Feminist Criticism of Shakespeare ； Voice Performance ； Adaptation ； Taiwanese translation

參考文獻

石光生(2008)。跨文化劇場：傳播與詮釋。台北:書林。

呂健忠譯(1999)。馬克白。台北:書林。

沈玲玲(2004)。台南人劇團經營發展與作品評析之研究：1987-2004(碩士論文)。國立成功大學藝術研究所。

()。

陳淑芬(2008)。莎士比亞翻譯與「跨文化劇場」交流―以台南人劇團「莎士比亞工作坊《奧賽羅》」呈現為例。文山評論：文學與文化。2(1)，99-120。