跨文化改編與文學新生:以台南人劇團《第十二夜》為例

Intercultural Adaptation and Literary Renewal: Tainaner Ensemble’s Twelfth Night

本研究探討跨文化劇場於再現經典的過程中，如何造就文化流動性以及文學新生。台南人劇團以中文音樂劇的型態，重新演繹《第十二夜》。後現代思維從「否定」、「質疑」出發，挑戰「宏大敘事」（grand narratives），並以去中心化來呈現開放性、不連續性和不確定的陳述。文類形式上的拼貼，打破了線性的敘事，同時諷刺性地並置歷史片段。在後現代的再造、複製中，意符與意指的關係動態化、不再穩定而產生了無限的延異（différance）。因此，當《第十二夜》的舞台場景從聖經到16世紀莎翁虛構的Illyria，再遷移到不復存在的1930年代上海，這上一世紀東方明珠在舞台上已是一個充滿不定性的符碼。舞台上所謂的主體性，已是充滿矛盾的游離樣態。在虛擬的東方時空中，批判社會與性別在戲謔中娓娓道來，歷史與距離感也因為劇中角色試圖直接與觀眾對話而打破舞台上下時空的邊界。然而此文化轉移，也因配角命名產生與《梁祝》之互文性，創造了一個具有顛覆意味的文化融合圖景。三0年代上海的歌舞昇平與當前的口罩疫情形成對比，突顯了改編的荒誕，促使觀眾採取批判視角。因此，跨文化劇場（intercultural theater）為有意識地交織不同文化的表演，其原本形式往往無從辨認。這些文化融合強調了文化交流的流動性，而非伴隨全球化的統一性。當莎翁之愛情喜劇搬移到台灣劇場，以非上海腔調唱演近百年前上海大戶人家之間所發生的趣事及浪漫，在諸多拼貼當中，除了搏君一笑之外，也將文化流動投射在開幕閉幕時的同一曲目：《瘋狂的世界》。此跨文化改編，不啻為一文學轉化獲得新生之途。

This study explores how intercultural theater fosters cultural fluidity and literary renewal by reinterpreting canonical works. The Tainaner Ensemble reimagines Shakespeare’s Twelfth Night as a Mandarin musical to embody the postmodern negation and skepticism toward grand narratives. This approach embraces decentered narratives characterized by openness, discontinuity, and uncertainty. This use of genre collage disrupts linear narratives and juxtaposes historical fragments in a satirical manner. In postmodern reconstructions and reproductions, the dynamic interplay between signifier and signified destabilizes traditional meanings, generating boundless“différance.”Thus, as the setting of Twelfth Night shifts from biblical times to 16th-century Illyria and then to the now-vanished 1930s Shanghai, this former“Pearl of the Orient”becomes a symbol of instability on the stage. The performance manifests a contradictory, fluid state. In this imagined Eastern space-time, societal and gender critiques unfold through playful dialogue, while the theatrical boundaries are disrupted as characters attempt direct interaction with the audience. This cultural transformation, interwoven with references to Butterfly Lovers through the naming of characters, creates a subversive cultural fusion. The contrast between the vibrant 1930s Shanghai and the current (during its 2022 production) masked pandemic underscores the absurdity of the adaptation, prompting the audience to adopt a critical perspective. Intercultural theater, as a deliberate intertwining of diverse cultural performances, often renders the original forms unrecognizable. These cultural fusions emphasize the fluidity of cultural exchange rather than the homogenization typically associated with globalization. The introductory and concluding song,“A Crazy World,”epitomizes the adaptation’s myriad changes and transformations in contemporary contexts. This intercultural adaptation serves as a vibrant pathway for the literary transformation and revitalization of a classic.