| 中文摘要 |
收錄於漢學家巴贊編譯之《中國戲劇選》的《竇娥冤》，是十九世紀上半葉始譯為法語的元雜劇之一。相較於《中國戲劇選》裡的其他劇本，《竇娥冤》並未在當時引起特別關注，也未在十九世紀被搬上舞台。為進一步了解《竇娥冤》在法國的接受情形，本文以巴贊譯文為出發點，通過法語譯文與中文原文的比對，釐清刪除、改寫、誤譯的段落，進而試圖理解竇娥冤案及中國法治觀念，是如何體現於漢學家的期待視域之中，又如何影響巴贊譯文對原作的修改。除了漢學家的譯本研究之外，本文亦注意十九世紀其他類型文本（例如遊記）裡的《竇娥冤》片段與元素，藉由其所選取的段落與呈現方式，探究《竇娥冤》如何從漢學家眼中的公案劇逐漸轉變為一般讀者所注意的鬼魂與超自然面向。最後，本文試圖延伸到二十世紀以降的文學選輯所選取之《竇娥冤》段落或全文，探討元雜劇與《竇娥冤》如何進入當代法國的中國文學知識架構。本文雖以文本淵源流變的研究為主，但亦略述法國知名劇場導演薛侯於一九六七年執導的《竇娥冤》（演出題名《盛夏之雪》），以說明少數搬上法國舞台且由法國演員演出的元雜劇劇本。
The Yuan drama Le Ressentiment de Teou-Ngo (Dou E Yuan, or Injustice to Dou E) was translated into French by the Sinologist Bazin aîné in the first half of nineteenth century, and it was published in the anthology Le Théâtre chinois (The Chinese Theatre) he compiled. Different from other plays collected in the same anthology, Dou E Yuan didn't draw its contemporary French readers' immediate attention. Nor was any performance given on the theatre stage during the nineteenth century. To better understand the reception of the play in France, in this paper based on the translation of Bazin aîné I try to compare the passages deleted, revised or misunderstood. Furthermore, I try to analyze what the Sinologists expected to understand in the case of Dou E and the Chinese concept of law and, on the other hand, how Bazin aîné, was influenced in his approach when he translated and modified the original play. In addition to the translation, in this paper I am also interested in other texts in which the play Dou E Yuan is not only related to justice but also evokes supernatural aspects. Last but not least, this paper tries to examine the presence of Dou E Yuan in 20th- and 21st - century textbooks or anthology, in order to know how the play has been perceived in the knowledge related to Chinese literature. Patrice Chéreau's work is also mentioned, since Dou E Yuan may be the first Yuan drama performed on the French theatre stage. |
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