挪用莎士比亞－－援引莎劇的展演行動

Appropriating Shakespeare as an Act of Citation

翻譯、挪用以及詮釋經典文學作品乃一種具有援引性的展演行動。在這個全球化的時代，引用莎士比亞的意義何在？我們該如何看待引用或是誤引莎士比亞所引起的倫理問題？世界各地都有跡象顯示我們常將莎士比亞視為人類發言人。「全球莎士比亞」儼然成為能同時滿足保守社會與新自由主義社會需求的萬靈丹。在世界文化範疇中一再被援引的莎士比亞，既可以同時滿足保留典律(canon)的傳統心態，又可以滿足現代社會國際化的要求。於是，引用莎士比亞的諸種形式紛紛冒現，各懷不同目的，包括賦權(empowerment)與解構經典，而「全球莎士比亞」作為一個新的文化現象在新自由主義經濟上更收其政治便利之效。這篇論文分析莎士比亞喜劇與悲劇的舞台和電影改編、以及各種政治挪用；透過這些案例研究，我主張這種援引性的展演造就了一個成為通行全球市場的貨幣的莎士比亞。

To translate, appropriate, and interpret literary classics is an act of citation. What does it mean to quote, or refer to, Shakespeare, in an age of globalization? How shall we handle the ethical questions that arise from these acts of quoting or misquoting Shakespeare? Everywhere we look, there are signs that Shakespeare is taken as a spokesperson for the human. Global Shakespeare has been cited as the answer to competing demands from both conservative and neoliberal societies. Namely, the demands that we become more transnational in outlook while simultaneously sustaining traditional canons. These citations come in all forms and have been deployed for various purposes including empowerment, and the genre of global Shakespeare is politically expedient in a neoliberal economy. With case studies of stage and cinematic performances as well as political uses of Shakespeare's comedies and tragedies, this paper argues that citational theatricality gave rise to a Shakespeare that is universal currency in world markets.