從歐洲無政府主義的政治暗殺到上海租界的諜報與愛戀：李健吾《喜相逢》的跨文化改譯策略及其實踐

本文以李健吾改譯自《費朵拉》（Fedora, 1882）的《喜相逢》（1944）為例，試析李健吾於抗戰期間的戲劇創作如何進行跨語際、跨文化的實踐。《費朵拉》原為法國劇作家薩杜（Victorien Sardou）為名伶貝恩哈特（Sarah Bernhardt）量身訂做，以通俗劇筆法結合浪漫主義、警探小說等元素，藉歐洲虛無黨的暗殺行動作為故事基底，鋪陳男女之間的愛戀、復仇以及因誤解而導致殉情的悲劇，演出極為賣座。《喜相逢》場景則跨轉至對日抗戰期間，藉敵偽／情敵身分之難辨、潛伏者／地下情之交錯等劇情線，改寫為上海灘一齣因恨相逢、因愛分離的大時代奇情劇。李健吾此劇演出之後反應熱烈，並有改編的廣播劇《愛與恨》等不同版本問世。值得注意的是，李健吾在一九四○年代雖改譯多齣薩杜的戲劇作品，如《花信風》、《風流債》，以及抗戰後出版的《金小玉》等，但薩杜並非首次進入中國現代戲劇的視野。早在二十世紀初期，即有新劇團體如春柳社等根據日譯本演出的薩杜作品，可說是現代中文戲劇發展史上的重要遺產。本文特別關注作為法國文學翻譯專家的李健吾如何理解法語原作，又基於何種思維與動機將其轉寫為話劇版本。通過法語原文與中文改譯本的比對，本文期望能進一步釐清李健吾對於薩杜戲劇／話劇遺產的承繼，思索改譯自法國戲劇的作品如何在李健吾筆下參與中國話劇發展的進程，以及中國話劇在跨文化轉譯過程中所產生的動能。

關鍵字

李健吾；喜相逢；話劇；跨文化；法國

並列摘要

This paper aims to analyze Li Jianwu's Delightful Encounter (Xi Xiang Feng, 1944), a Chinese spoken drama adapted from Victorien Sardou's Fedora (1882), by which Li Jianwu attempted to put in practice translingual and transcultural creation in Shanghai during the Sino-Japanese War. Originally written for the famous actress Sarah Bernhardt, Fedora was a melodrama which mixed elements of romanticism and detective fiction. Its plot of murder was inspired from the European nihilists' political action in the nineteenth century. One of the best-selling plays of Bernhardt, it recounts secret love affairs, violent revenge, misunderstanding and unexpected suicide entangling the main characters. Scenes of Delightful Encounter were, however, transferred to the historical background of the Sino-Japanese War. The plot was elaborated by the mystery of identities of traitors and competitors. The conspiracy and secret love complicate the device: Fedora was therefore revised and presented in the metropolitan setting of Shanghai, in which the protagonists meet by accident and are doomed to separate because of unpredictable death. The exciting drama was highly appreciated by the audience during the war time. It was then adapted to a radio play entitled Love and Hatred (Ai Yu Hen, 1947) after the war. Although Li Jianwu translated and adapted several plays from Victorien Sardou during the 1940s - such as Messages from the Flower Wind (Hua Xinfeng, 1944), Lust Debt (Fengliu Zhai, 1944), and The Actress Jin Xiaoyu (published in 1946) - Sardou's plays had already been introduced to Chinese readers and audience in the early twentieth century. The plays translated from the Japanese edition and performed by the Chunliu Society witnessed the development of early Chinese modern drama. In this paper, I am interested in Li Jianwu's understanding and interpretation of the French original. I am also interested in his motivation and method in terms of his adaptation of Fedora/Delightful Encounter. Through a cross-reading of the original and the Chinese translation/adaptation, this paper expects to examine how the elements and heritage of both Victorien Sardou and Chinese spoken drama were incorporated in Li Jianwu's works. In addition, this paper attempts to question how the French theatre participated in the development of Chinese modern drama, as well as its momentum in the transcultural practices.