新詮的譯趣：「莎戲曲」《威尼斯商人》

Translating Theatre: The Merchant of Venice as “Shake-xiqu”

就翻譯光譜而言，如將原著置於左側，譯作由此向右拓展，則翻譯愈偏重於考慮讀者需求，而非作者原意，可能愈會產生較大幅度的偏離結果。幾乎沒有一本譯作能完全與原著密合；即使是致力於貼近原著者，也會在小範圍內加入譯者的個人詮釋。因此，在翻譯的國度裡，原著衍生出各種不同樣貌的成品。依據「功能論」的說法，跨文化改編也是一種廣義的翻譯。莎士比亞戲劇流播四百餘年來，早已成為世界劇壇的經典品牌。其被改編為中國戲曲，亦可上溯至民國初年。而當代的「莎戲曲」演出，顯然是翻譯光譜中的一環，值得討論。限於篇幅，本文擬以《威尼斯商人》（The Merchant of Venice）為例，從「標的文化」的滲透、劇種、行當的制約、語言的轉譯新詮等三個視角切入論述，以見「另類譯作」新詮的譯趣。論述個案則聚焦於二○○九年的粵劇《豪門千金》與豫劇《約／束》。前者由廣東粵劇院院長、梅花獎得主倪惠英主演；後者則由臺灣豫劇皇后、國家文藝獎得主王海玲主演。

On the spectrum of translation, one might place an original on the left and the translation on the right. The further to the right the translation is, the more deviation from the original there could be. Translators are prone to consider readers’ needs and go against the authors’ creative intentions. It is hard to find a translation that is perfectly true to the original; even those that reach this ideal would add the translators’ personal interpretation in one way or another. According to functionalism, cross-cultural adaptation is a kind of translation in a broad sense. Shakespeare’s plays have become classics in theaters worldwide. “Shake-xiqu” (Chinese opera adapted from Shakespearean plays) can be traced back to the last century, and it is also worthy of study in the field of translation. This article takes The Merchant of Venice as an example to discuss the “alternative translation” of Shake-xiqu in the context of cultural penetration, play genres, the delimitation of character types and language translation. Case studies are focused on Daughter from a Wealthy Family, a Cantonese opera, and Bond, of Yuju. The former featured Ngai WaiYing (2009), director of Cantonese Opera Theatre. The latter featured Wang Hailing, the queen of Taiwan Bangzi opera.