金銀世界裡的人性與傀儡──《竇巴茲》在二十世紀華語戲劇的譯介、改編與演出

Human Nature and Puppets in the World of Gold and Silver—The Translation, Adaptation and Performances of Topaze in Twentieth-Century Sinophone Theater

本文針對法國作家巴若萊（Marcel Pagnol）劇作《竇巴茲》（Topaze）在二十世紀中國大陸與臺灣的譯介與演出進行分析。全文主要涉及的譯本包括中國大陸的《小學教員》、《人之初》、《黃金夢》等，以及臺灣在二十世紀後半期由鍾雷改編的《金色傀儡》。值得注意的是，《金》劇於1967年由菲律賓劇藝出版社出版，書中收錄有蘇子撰於馬尼拉的序文。不過《金》劇並不是直接由法語《竇》劇原文直譯，而是經由二十世紀前半期中國大陸的譯本改編而來。本文期望通過中國大陸、臺灣、菲華社群之間的文本流動，就文本改譯、舞台演出以及同時期社會文化環境等面向，在更廣闊的視角下重新思考戲劇傳播和交流的模式。

This paper examines the translation and performances of the French playwright Marcel Pagnol’s Topaze in mainland China and Taiwan during the twentieth century. The analysis primarily focuses on several Chinese translations, including Xiaoxue Jiaoyuan (The Primary School Teacher), Ren Zhi Chu (At the Beginning of Life), and Huangjin Meng (The Golden Dream) from mainland China, as well as Jinse Kuilei (The Golden Puppet), an adaptation by Zhong Lei in Taiwan during the latter half of the twentieth century. Notably, Jinse Kuilei was published in 1967 by the Philippine Theatrical Arts Publishing House, with a preface written by Su Zi in Manila. However, rather than being a direct translation from the original French text of Topaze, Jinse Kuilei was adapted from earlier Chinese translations produced in mainland China during the first half of the twentieth century. Through an examination of textual adaptations, theatrical performances, and the sociocultural contexts of the period, this study seeks to explore the dynamics of dramatic transmission and exchange within an inter-Asian framework, considering the intertextual movement between mainland China, Taiwan, and the Chinese diaspora in the Philippines.