“空間”的呈現: 洪深1920年代的戲劇改譯活動

As the earliest Chinese who had received professional theatrical training in the west, Hong Shen (洪深) had left us a number of translated works ranging from dramas, short stories, novels to theatrical theories apart from his original works. However, his role as a translator hasn’t drawn as much attention as his recognized role as a playwright, a stage director or an actor. Thus, the value of his translations has long been underestimated by scholars, whose views towards Hong’s are always homogenous.This research aims to uncover the role of Hong as a translator in the making of Chinese spoken drama by focusing on his translation activities in the 1920s, a period that witnessed his early efforts after he had finished his study in the U.S. and came back to China. Centering on the concept of “space”, methodologies from the fields of history, fine arts and dramaturgy are borrowed to conduct a detailed description of Hong’s translation process of three pieces of work, namely Yama Zhao (趙閻王, 1922), The Young Mistress’ Fan (少奶奶的扇子, 1923), and The Second Dream (第二夢, 1925). Analysis from different lens shows that Hong’s expertise in theatre, his personal experiences as well as the historical and social context had inspired him to adopt a creative way in translating western dramas, and what he had done as a translator had contributed greatly to the introduction of western dramatic knowledge and techniques to China. Besides, the research also finds out where the difficulty of theatrical translation lies, and the cultural significance of dramatist translators’ activities in the development of modern Chinese theatre.作為中國現代戲劇史上舉足輕重的人物，洪深（1894-1955）除了在戲劇創作、戲劇理論和戲劇教育等方面成績斐然，還留下許多翻譯作品。目前這些作品尚未引起學界的足夠重視，導致現有研究中洪深的譯者身份幾乎被遮蔽，而他經由翻譯為中西方戲劇交流和中國現代戲劇發展所做的貢獻則被明顯低估。洪深研究也因此陷入視角單一、結論片面的困局。本研究從“空間”視角出發，綜合歷史學、藝術學和戲劇學的方法，對洪深1920 年代的改譯活動進行描述性研究。論文首先利用原始資料，結合譯者個人經歷，勾勒出他戲劇改譯思想的形成過程及其改譯活動發生的歷史語境。在澄清相關史實的基礎上，藉助藝術史家大衛·薩默斯（David Summers,1941-）關於“真實空間（Real Space）”與“虛擬空間（Virtual Space）”的論述，提出“劇本空間”與“舞台空間”的概念，用以深入考察洪深改譯的三部戲劇《趙閻王》、《少奶奶的扇子》和《第二夢》，審視影響譯者選材和翻譯策略的複雜因素。研究認為，洪深早年的觀劇體驗和留美學習經歷塑造了他“內容”與“舞臺”並重的戲劇觀，他的戲劇改譯活動也始終圍繞這兩方面進行。選材方面，他不僅注重原作在西方的演出情況，也關心作品是否具有直擊人性的普世主題，同時又不妥協於個人審美偏好。在改譯過程中，他將戲劇內容與社會現實緊密聯繫在一起，又將表導演專業知識融入舞臺說明和人物對話中，造就了中國話劇發展初期一種特殊的劇本形態。通過這一時期的戲劇改譯，洪深不僅系統地將西方戲劇知識實踐於中國舞臺，開啟了中國話劇全新的演出傳統，也為此後的戲劇改譯和創作提供了學習範本，在推動中國現代戲劇發展的道路上邁出了重要一步。同時，本研究也揭示出面向舞臺的戲劇翻譯的特殊性所在，以及進一步探討“戲劇家作為譯者”這一文化現象的意義和可能。陳媛媛.Ph.D. Chinese University of Hong Kong 2021.Includes bibliographical references (leaves ).Abstract also in English.Title from PDF title page (viewed on …)