簡莉穎的西方經典在地化實踐——《春眠》、《全國最多賓士車的小鎮住著三姐妹》與《遙遠的東方有一群鬼》

簡莉穎作為臺灣現代劇場中生代劇作家中頗具代表性的一員，她的作品不論是原創或是改編，都在嘗試走一條將社會觀照與通俗敘事結合和溝通的路，她的作品中承載了她對於「人」的關注與探尋，這些族群的故事也依託於臺灣這片土地上所發生過或正在發生的事，書寫「在地」這件事在她看來是自然而然發生的。簡莉穎在創作上致力於書寫臺灣的歷史與生活，呈現臺灣人「生活的切片」，也在創作與記錄中持續地輸出自己的關懷與社會對話。本論文試圖從簡莉穎的創作軌跡中剖析其作品成功「在地化」改編的策略，以她的三個重寫自西方文本的作品《春眠》、《全國最多賓士車的小鎮住著三姐妹（和她們的Brother）》及《遙遠的東方有一群鬼》為例，以文本分析為主要研究方法，輔以訪談分析法，每一章節將分別從主題、結構、語言及角色的「在地化」為切入點，以此全面洞察簡莉穎在劇本中所埋下的時代敘事與社會脈絡，及其所欲與西方文本對話的核心；同時從作品的結構與對白語言習慣入手，透過剖析角色及其語言特色，和劇作家處理在地歷史和議題的新的敘事語言，由此來分析總結這三個劇本的「在地化」重寫策略。

關鍵字

簡莉穎；西方經典；在地化；重寫；臺灣劇場

並列摘要

As a representative member of the middle-generation play-writers in modern Taiwanese theatres, Li-Ying Chien attempts to combine and communicate social observations with popular narratives in both her original and adapted works. Chien’s creations reflect her concerns and explorations for "people," with her stories of communities based on what has happened or is happening on this land of Taiwan. It seems to her that writing about "local" stories happens spontaneously. Chien has been committed to writing about Taiwan's history and life, presenting “bits and pieces of life” of the Taiwanese. She has also continued to express her care for people and showcase her dialogues with society through her creations and recordings. This thesis attempts to analyze the strategies Chien adopts in her creation process to bring forth successful localized adaptations, based on Sleep in Spring, OK, My Dear Sisters and We Are Ghosts. Using textual analysis as the main research method along with interview analysis, this thesis discusses the localization of themes, structures, languages, and characters in different sections, respectively. Through this, it seeks to gain a comprehensive insight into the narrative of the times and the social context Chien lays down in her plays, as well as the core of the dialogue she intends to hold with Western texts. This thesis analyzes and concludes the localization strategies Chien uses in these three plays by examining the following aspects: the structures of the plays and the language habits of the dialogues, the characters and their linguistics features, and the new narrative language she uses in addressing local history and issues.