中國守財奴的妙汗衫：從元雜劇《合汗衫》的法譯到《看錢奴》的改編與演出

The Marvelous Undershirt of the Chinese Miser: From the French Translation of the Yuan play He Hanshan to the Adaptations and Performances of Kan Qian Nu

1838 年， 法國漢學家巴贊（Bazin aîné） 出版《中國戲劇選》（Théâtrechinois），當中收錄由其翻譯的四齣元雜劇。書中所收的《合汗衫》並未立刻引起重視。19 世紀末葉，漢學家俞第德（Judith Gautier）先後改編多齣元雜劇，重新發掘前人引介的中國戲曲價值。例如，她從巴贊處擷取靈感，以《妙汗衫》為題，融入另一齣元雜劇《看錢奴》滑稽調笑的部份內容，演出搏得巴黎劇院滿堂彩。然而，當時《看》劇並未有法文全譯本問世，僅有前輩漢學家儒蓮（Stanislas Julien）的草譯手稿，偶然傳抄於同時代人編纂之古羅馬劇作集裡。俞第德的創作素材實基於此。20 世紀初，繼《妙》劇大獲成功後數年，俞氏再度改寫《看》劇，法文標題易名《中國守財奴》，一方面試圖採用更多原劇曲文，一方面又於劇中添加更多想像的中國元素，甫一推出即佳評如潮，而《看錢奴》原劇卻直至1963 年才有今人李治華的全譯本。本論文以《合汗衫》、《看錢奴》為分析對象，說明此兩劇在法國的翻譯改編與重寫，除了著重出版文本的考據之外，特別注意到舞台演出的紀錄，以補齊文字資料可能的缺漏，通過跨學科的資料整合，進一步探討戲曲傳播的可能途徑與不同變貌。

In 1838, the French Sinologist Bazin aîné published an anthology entitled Théâtre chinois [The Chinese Theater]. Four Yuan dramas that he had translated were collected in this anthology, including Ho-han-chan, ou La Tunique Confrontée [literally ＂The Confronted Undershirt＂]. But this play did not immediately arouse much attention. It was not until the end of the nineteenth century that the adaptations of the Sinologist Judith Gautier allowed her contemporaries to rediscover the value of Yuan drama. One of her works was inspired by Bazin's anthology: entitled La Tunique merveilleuse (literally ＂The Marvelous Undershirt＂), this comedy partly borrowed the plot of Kan Qian Nu [literally ＂The Slave to the Treasures He Guards＂]. Only several excerpts of the latter had been translated into French by Stanislas Julien, and they were published in the anthology of Roman dramas edited by Naudet. These excerpts were probably the source of Gautier's adaptations. Several years after the successful renderings of La Tunique merveilleuse, Judith Gautier revised Kan Qian Nu at the beginning of the twentieth century and called it L'Avare chinois [literally ＂The Chinese Miser＂]. Gautier attempted to integrate the original text into her L'Avare chinois, and Chinese elements that she had invented added to the impact of the drama’s performance. The complete translation of Kan Qian Nu, however, was not published until 1963, thanks to the work of Li Tche-houa. In this paper, I will examine the translations and adaptations of these plays in France by means of a cross-reading of the texts-also taking into account the reception of the performances-in order to analyze the different ways in which Chinese theater (in particular Yuan drama) has been transmitted to, and received in, the West and more generally to consider the possible transformations of classical Chinese drama on the world stage.