拒絕「翻譯」：李國修的「風屏劇團」

Against the “Representation of Translation”

本文透過閱讀屏風表演班之「風屏四部曲」《半里長城》（1989）、《莎姆雷特》（1992）、《京戲啟示錄》（1996）與《女兒紅》（2003），一方面細查這四部作品彼此之間的互文關係，另一方面也解讀屏風表演班編排「風屏劇團」的美學手法。除了模擬、對照與後設之外，李國修如何以編寫風屏劇團進入現代中國／臺灣的歷史軌跡，重複地以風屏劇團演出中的失敗，拒絕了現代性翻譯建制。本文最後期待透過對於風屏四部曲的再認識，批判性地重新省視臺灣現代戲劇之於「回歸傳統」或是「翻譯西方」的當代位置。 The article aims to look into the inter-textuality and the historicity of Hugh K. S. Lee’s “Fong-Ping Tetralogy”: The Half-Mile Great Wall, Shamlet, Apocalypse of Beijing Opera, and Wedding Memories. By examining the aesthetic forms of mimicking and meta-dramatizing, the question as well as the problematic is raised in the article regarding the way in which the Fong-Ping Troupe (the reverse of Ping-Fong Troupe) led by its S. K. Lee (the reverse of K. S. Lee) continuously fails in its productions of translating Shakespeare’s Hamlet and reproducing a history play. The article argues that it is by against the regime of translation as conceptualized by Naoki Sakai that Hugh K. S. Lee provides a critical perspective on the discursive formation of Taiwan modern theater.