《伊底帕斯王》之跨文化改寫：以金枝演社之台灣歌仔戲舞台表演為例

Intercultural Adaptation of Oedipus the King: Taiwanese Opera Performance by Golden Bough Theater as an Example

當代評論家，約翰‧湯姆林森，視「全球化」為一個現代化產物，亦為一個「複雜的互聯網絡」；因其跨越疆界，必須承受將全球文化及經濟濃縮為一個整體之過。的確，西方政治經濟的優越掌控，犧牲了弱勢文化多樣性；東西方不平衡的關係，導致了文化同質化，以及非西方主體性被消弭的情況。羅蘭‧羅伯遜因此提出了「全球在地化」這個概念，以連結全球化產品以及在地化特色，讓全球化標準以及地方思維共同創造新的文化意義。「全球文化在地化」，是一個本土化以及綜合式的思維及實踐，用以對抗強勢的西方霸權思想。跨文化實踐有意識地將外來及當地的文化元素，透過語言、藝術形式等來做文化移植及轉化；藉由不同文化的並存，展現了文化多元。此外，跨文化改寫是一個動態的文化移轉過程，需要相互的尊重、了解及接納。跨文化改寫造就了文化雜交，展現了文化相互融合及妥協，且抗拒主／客等二元對立思維。本研究主要以金枝演社的跨文化改寫索伏克勒斯之《伊底帕斯王》為例，其中人類對命運之強大權力，是跨國界與文化之共同焦慮。金枝演社抓取台灣歌仔戲的元素，用在地的口語語言──台語，來對在地觀眾訴說一個古老的希臘悲劇。地方的觀點，尤其藉由語言來呈現對身分認同的焦慮，相互呼應了舞台上下的共同關切；而舞台上演員各個配戴面具，讓文化界限更為模糊，東西方差異不再是對這些議題疑慮的關切點。金枝演社的版本，是以跨文化改寫策略，展現人類共同之恐懼與爭論，也讓戲劇表演更為多元和深入。跨文化改寫的確是一個結合不同文化元素，將地方文化根源拉到國際展場之路。

Globalization, a product of modernity defined as a ＂complex connectivity,＂ is blamed to take the global culture as a wholeness by crossing the boundaries. The domination of western political and economic power bypasses cultural diversities of others; also, the unbalanced relation of the west vs. the east leads to cultural homogeneity and the neglect, even deletion, of non-western subjectivity. The idea of glocalization intends to connect the global products with the local context, global standardization and local adaptation coexistent to produce new cultural connotations. Cultural glocalization is an indigenized and integrative mode of thinking and practice likely to fight against the dominant western thinking. Intercultural adaptation is a conscious invitation of foreign cultural elements into the local system; one culture is transposed and transformed through another language, art form, or perspective to get connected to the locality. Intercultural adaptation is thus a dynamic process that demands mutual respect, understanding, and acceptance, a relational phenomenon based on equal and reciprocal exchange rather than threat and domination. From intercultural adaptation also arises cultural hybridization, which presents the merge or reconciliation of cultural interactants, and rejects the fixed stick to binary thinking of subject vs. object, one vs. other, etc. This study is to take Golden Bough Theater's intercultural adaptation of Sophocles' Oedipus the King as an example: humans' universal anxiety over the power of fate transcends national or cultural boundaries. In the form of Taiwanese opera, the surrounding of the land and the audiences are all incorporated into the original Greek cultural code. Also, the conflict with harsh fate is presented in the local spoken language-Taiwanese; Taiwanese opera elements are incorporated to present the local perspectives and identity ambivalence, while the scenes that actors and actresses wear masks make the cultural boundaries vague. Here the theatrical performance is a product of intercultural adaptation; the cultural hybridity is a tactic to present universal concerns of human inner fear and struggles and to make the theatrical performance significant and splendid.