案頭或氍毹：論岸春風樓的戲曲翻譯方法、實踐及在日本的接受

Closet Drama or Stage Performance: Kishi Shunpuro’s Methods and Practices of Xiqu Translation and Their Reception in Japan

《西廂記》與《牡丹亭》在日本的流播史上，曾有岸春風樓所譯，於大正五年（1916）由文教社出版的《新譯西廂記》、《新譯戲曲牡丹亭還魂記》兩種，是為兩部劇作中的早期日譯本。此兩部戲曲譯著均與其小說譯著相同，採取白話翻譯，試圖使中國戲曲能夠於日本民間流傳。然而岸春風樓在進行翻譯時，翻譯方法上卻不一致，表露出其對兩部劇作有著案頭與演出的不同期待。
本文即以《新譯西廂記》與《新譯戲曲牡丹亭還魂記》為研究對象，從岸春風樓的文學翻譯觀與戲曲翻譯觀進行統整，梳理其戲曲翻譯的理念，以及期望戲曲譯著對日本文壇的影響性。而後再從兩部譯著的翻譯現象，解析其譯賓白、曲文、科介、舞台指示等譯法之異同，藉此詮釋岸春風樓認為《牡丹亭》可做為舞台演出，而《西廂記》傾向案頭的翻譯成果。最後則從《西廂記》與《牡丹亭》在日本翻譯與流播的歷史脈絡中，考察中國戲曲如何經由翻譯進行在地化，使讀者群體便於接受，以及在戲曲譯本在日本從案頭進入舞台可能性。
經由以上綜合分析，可得出《新譯西廂記》與《新譯戲曲牡丹亭還魂記》是基於讀者考量上進行的白話翻譯外，又從譯者個人對於兩部劇作的觀點差異而採用不同的翻譯方法，進而產生演出本與案頭本的差異。同時，此兩部戲曲譯著的出版，也是標誌中國戲曲在日本在地化的重要著作。

In the history of the dissemination of Romance of the Western Chamber (西廂記，Xixiang Ji) and The Peony Pavilion (牡丹亭, Mudan Ting) in Japan, Kishi Shunpuro’s translations: New Translation of Romance of the Western Chamber (Shinyaku Seishoki) and New Translation of The Peony Pavilion (Shinyaku Botantei Kankonki) published by Bunkyosha in 1916, stand as some of the earliest Japanese versions of these two plays. Like his novel translations, both works adopt a vernacular style, aiming to render xiqu drama accessible to the Japanese reading public. Yet Kishi Shunpuro’s translation strategies are not entirely consistent, revealing his differing expectations for the two plays as works for private reading versus theatrical performance.
This paper takes New Translation of Romance of the Western Chamber and New Translation of The Peony Pavilion as its objects of study. It first integrates Kishi Shunpuro’s literary and theatrical translation perspectives, outlining his philosophy of drama translation and the influence he hoped these translations might exert on the Japanese literary field. It then examines the translation phenomena within the two works—such as the rendering of dialogue, lyrics, stage directions, and performance annotations—clarifying the divergences in Kishi Shunpuro’s methods. Through this comparison, the paper interprets his positioning of The Peony Pavilion as suitable for stage performance, while Romance of the Western Chamber is presented as more appropriate for closet reading. Finally, it situates these two translations within the broader historical context of the translation and circulation of xiqu in Japan, investigating how translation facilitated the localization of xiqu for Japanese readers, and how such translated plays might transition from closet to stage.
Through this comprehensive analysis, the study demonstrates that New Translation of Romance of the Western Chamber and New Translation of The Peony Pavilion are not only vernacular translations designed with the readership in mind but also distinct in their translational approaches, reflecting Kishi Shunpuro’s differing interpretations of the two plays. This divergence ultimately produced a separation between performance-oriented and reading-oriented editions. At the same time, the publication of these two translations marks an important milestone in the localization of xiqu in Japan.