台南人劇團「莎士比亞不插電」系列研究

於文化交流密切、頻繁之今日，「跨文化劇場」、「跨文化改編」早已成為東西方學術研究關注的議題。本文以台南人劇團「莎士比亞不插電」系列作品為題，探討統攝在「不插電」的整體概念下，劇團所為之改編策略。自導演編排調度、舞美設計、情節結構、語言運用、角色形塑等層面，討論系列劇作於遵循原著經典的脈絡下，為何及如何進行改編、改編版本的戲劇內涵，以及原著文化至標的文化所為之調整。本研究主要從二面向進行資料耙梳，一是從劇團發展策略之角度，分析台南人劇團之領導理念和方針，以了解其面對改編之中心思想；二是從莎士比亞不插電劇目相關研究之角度，探討文化跨度之於戲劇詮釋的影響。跨文化戲劇主要橫跨文化、戲劇與文學三大領域，本論文以謝克納（Richard Schechner）主張的四大跨文化表現解釋文化流動現象；巴維（Patrice Pavis）的跨文化劇場分類及羅（Jacqueline Lo）和吉伯特（Helen Gilbert）所提出的「三橢圓圖」，檢視戲劇在改編後的屬性及文化轉譯。並以赫全（Linda Hutcheon）《改編理論》（A Theory of Adaptation）提出的六何法為檢視改編戲劇之方向，討論不同背景對於文學的側重和解讀。研究成果發現：於形式上，本系列作品皆承襲台南人劇團捨繁入簡的態度實踐「不插電」之概念；內涵層面因考量社會文化及目標觀眾之喜好，多著墨人物心理的發展變化，且容納諸多議題於戲劇中，如速食愛情、性別、毒品、生命意義、倫常、欲念追求等。表現手法多以幽默、詼諧的口吻將嚴肅的議題輕描淡寫，安排丑角、節奏輕快的音樂使戲劇氛圍不致太過沉重。語言詮釋部份從《羅密歐與茱麗葉》、《哈姆雷》反覆出現大段生僻難懂的念白，至《馬克白》、《維洛納二紳士》調整語言，臺詞兼顧文學性和表演性。台南人劇團「莎士比亞不插電」體現本土化、在地化之改編策略，特別是語言之運用，可謂塑造了莎劇臺灣化的風貌。

關鍵字

莎士比亞；改編；跨文化；台南人

並列摘要

Today, with close and frequent cultural exchanges, “intercultural theater” and “intercultural adaptation” have long been the issues of concern in Eastern and Western academic studies. The thesis takes the Tainaner Ensemble “Shakespeare Unplugged” series of works as the topic to discuss the adaptation strategies of the theater under the overall concept of “Unplugged”. Aiming at the arrangement made by the directors, set design, plot structure, language use, role modeling, etc., the thesis explores how to adapt the play under the context of the original classic and dramatic connotations that the plays intend to convey after the adaptation and the adjustment from the original culture to the target culture. This research mainly analyzes the materials from two aspects. The first is from the perspective of the development strategy of the theater, to analyze the leadership and policy of Tainaner Ensemble to understand its central ideas in the face of adaptation; the second is to explore the influence of cultural transitions on the interpretation of drama from the perspective of the research related to Shakespeare's unplugged plays. Intercultural theater mainly crosses the three fields of culture, play, and literature. This thesis uses the four cross-cultural representations advocated by Richard Schechner to explain the phenomenon of cultural fluidity; Patrice Pavis’ s intercultural theatrical classification, Jacqueline Lo and Helen Gilbert’s “Proposed Model for Interculturalism＂to examine the attributes and cultural translations of plays after adaptation. In addition, Linda Hutcheon's “A Theory of Adaptation” proposes the “6W” approach as a direction for examining the adaptation of plays, discussing the emphasis and interpretation of literature in different backgrounds. The research results found that: in terms of form, the series inherits the Tainaner Ensemble's attitude of “unplugged”; the implied meaning is that due to the consideration of social culture and the preferences of the target audience, the development and changes of the character's psychology are mostly described. There are many issues included in the play, such as instant love, gender, drugs, the meaning of life, morality, and the pursuit of desire. The expressions are mostly humorous and witty to make light of the serious issues, arranging clowns and lively music to keep the drama atmosphere from being too heavy. The interpretation of language ranges from Romeo and Juliet and Hamlet, where large passages of incomprehensible and difficult speech repeatedly appear, to Macbeth and The Two Gentlemen of Verona, where the language is adjusted and the lines are both literary and performative. “Shakespeare Unplugged” by Tainaner Ensemble reflects the adaptation strategy of localization, especially the use of language, which can be said to have shaped the Taiwanese style of Shakespeare's theater.