改编的政治——析当代爱尔兰剧场中的古希腊悲剧改编
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摘要
本文拟运用后现代改编理论分析当代爱尔兰剧作家对古希腊悲剧的改编情况(1984—2015),考察其改编动机、手法及意义。改编是"带有变化的重复",不同于单纯的重复,原作与新作的缝隙和差异是最重要的,改编者的原创性也在于此。改编作品可以与源文本在许多方面有出入,但必须与源文本有持续的互文和对话。改编不仅仅是对原作的重访或致敬,更可能是对其的批判和重估。当代爱尔兰作家对古希腊悲剧的改编具有明显的政治意图,以改编来挑战和批判对原作的固定理解,表达政治观点。古希腊悲剧在当代爱尔兰的改编现象与其巨大的社会变迁密切相关。自1984年至2015年间,剧作家以改编古希腊悲剧来激发对当代政治、社会和文化的讨论,改编既是美学实践,也是政治行为,他们所改编的古希腊悲剧版本是一种杂糅的文本,处于混杂着不同声音和叙述的中间状态,让观众在重温源文本的同时,更深刻了解当代的政治和社会面貌。
This paper examines the adaptations of Greek tragedies in contemporary Irish theatre(1984-2015) from the perspective of postmodern adaptation studies. Adaptation is "repetition with variation" in the sense that the adapted texts display both continuity and variations. The process of differentiation allows scope for the adaptor's originality, and the adapted text can either pay tribute to, challenge, or even politically subvert the original through its intertextual engagement. Taking Irish adaptation of Greek tragedies as a case study, this paper discusses how Irish dramatists explore the contemporary landscapes of Ireland and of the world through their engagement with the adaptation of previously existing theatrical texts. As hybrid texts operating in a liminal state between the ancient and the modern, these adaptations are both aesthetic creations and political acts. By considering the similarities and differences between the original and adapted texts, the audience is encouraged to view the adaptation of 1000 year old Greek plays as a mode of accessing their own recent history, and their current domestic and international political contexts.
This paper examines the adaptations of Greek tragedies in contemporary Irish theatre(1984-2015) from the perspective of postmodern adaptation studies. Adaptation is "repetition with variation" in the sense that the adapted texts display both continuity and variations. The process of differentiation allows scope for the adaptor's originality, and the adapted text can either pay tribute to, challenge, or even politically subvert the original through its intertextual engagement. Taking Irish adaptation of Greek tragedies as a case study, this paper discusses how Irish dramatists explore the contemporary landscapes of Ireland and of the world through their engagement with the adaptation of previously existing theatrical texts. As hybrid texts operating in a liminal state between the ancient and the modern, these adaptations are both aesthetic creations and political acts. By considering the similarities and differences between the original and adapted texts, the audience is encouraged to view the adaptation of 1000 year old Greek plays as a mode of accessing their own recent history, and their current domestic and international political contexts.
引文
Arkins,Brian.Irish Appropriation of Greek Tragedy.Dublin:Carysfort,2009.
Auden,W.H.Forewords.The Portable Greek Reader.Ed.W.H.Auden.London:Penguin,1977.1-9.
Bhabha,Homi K."Cultural Diversity and Cultural Differences."The Post-Colonial Studies Reader.Ed.Bill Ashcroft,Gareth Griffiths and Helen Tiffin.New York:Routledge,2006.206-12.
Carr,Marina.Introduction.Carr ix-x.
—.Marina Carr:Plays 3.London:Faber and Faber,2015.
Cavendish,Dominic."Review of McGuinness'Hecuba:Tragedy of War."The Telegraph 30 Aug.2004.Web.12 Nov.2018.
Chacon,Maria del Mar Gonzalez."Re-examining and Redeeming the Tragic Queen:Euripides'Hecuba inTwo Versions by Frank McGuinness(2004)and Marina Carr(2015).Complutense Journal of English Studies 24.1(2016):25-41.
Deleuze,Gilles.Difference and Repetition.Trans.Paul Patton.London:Continuum,2004.
Dicecco,Nico."The Aura of Againness:Performing Adaptation."The Oxford Handbook of Adaptation Studies.Ed.Thomas Leitch.Oxford:Oxford UP,2017.607-24.
Donaldson,Kayleigh."Hecuba:Dundee Rep-Theatre Review."Female Arts 6 Nov.2013.Web.12 Nov.2018.
Dubost,Thierry,ed.Drama Reinvented:Theatre Adaptation in Ireland 1970-2007.Brussels:Peter Lang,2012.
Guterres,Antonio."Opening Remarks at 66th Session of the Executive Committee of the High Commissioner's Programme."UNHCR.Geneva.5 Oct.2015.Web.13 Nov.2018.Hall,Edith.Introduction.Dionysus Since 69:Greek Tragedy at the Dawn of the Third Millennuium.Ed. Edith
Hall,Fiona Macintosh and Amanda Wrigley.Oxford:Oxford UP, 2005.1-46.
Heaney,Seamus.The Cure at Troy:A Version of Sophocles'Philoctetes.London:Faber and Faber,1990.
Hutcheon,Linda,and Siobhan O'Flynn.A Theory of Adaptation.London:Routledge,2013.
Kolb,Matthieu."A Doll's House by Frank McGuinness:An Expression of Irish Cosmopolitanism?,,Dubost112-30.
Laera,Margherita.Introduction.Theatre and Adaptation:Return,Rewrite,Repeat.Ed.Margherita Laera.London:Bloomsbury,2014.
—.Reaching Athens:Community,Democracy and Other Mythologies in Adaptations of Greek Tragedy.Bern:Peter Lang,2013.
McDonald,Marianne."Classics as Celtic Firebrand:Greek Tragedy,Irish Playwrights and Colonialism."Theatre Stuff.Ed.Eamonn Jordan.Dublin:Carysfort,2000.16-26.
—."The Irish and Greek Tragedy."Amid Our Troubles:Irish Versions of Greek Tragedy.Ed.Marianne McDonald and J.Michael Walton.London:Methuen,2002.
—."Rebel Women:Brendan Kennelly's Versions of Irish Tragedy."New Hibernia Review 9.3(2005):123-36.McGuinness,Frank.Euripides'Hecuba in a New Version.London:Faber and Faber,2004.
Paulin,Tom.The Riot Act:A Version of Sophocles'Antigone.London:Faber and Faber,1985.
Pelletier,Martine."Field Day Revisits the Classics:Tom Paulin's The Riot Act."Dubost 84-93.
Rees,Catherine.Adaptation and Nation:Theatrical Contexts for Contemporary English and Irish Drama.London:Palgrave Macmillan,2017.
Roche,Anthony."Ireland's Antigones:Tragedy North and South."Cultural Contexts and Literary Idioms in Contemporary Irish Literature.Ed.Michael Keneally.London:Gerrard's Cross,1988.221-50.
Salis,Loredana."'The Root of All Evil':Frank McGuinness'Translations of Greek Drama."A Journal of Irish Studies 36.4(2014):145-60.
Sanders,Julie.Adaptation and Appropriation.London:Routledge,2006.
Teevan,Colin."Northern Ireland:Our Troy?Recent Versions of Greek Tragedies by Irish Writers."Modern Drama 41.1(1998):77-89.
Williams,Holly."The RSC's New Hecuba:A Vengeful Queen with a Difference."Independent 23 Sept.2015.Web.23 Nov.2018.
Wilmer,Steve."Greek Tragedy as a Window on the Dispossessed."New Theatre Quarterly 33.3(2017):277-87.Zizek,Slavoj.Organs with Bodies:On Deleuze and Consequences.New York:Routledge:2004.
(1)《安提戈涅》是当代爱尔兰剧作家改编最多的古希腊悲剧作品。1999年至2008年又出现5个改编的版本,分别是希尼、多尼兰(Declan Donellan)、麦克多纳德、莫里森(Conall Morrison)、麦克卡非尔迪(Owen McCafferty)的版本。
(1)爱尔兰作家对古希腊悲剧的改编尤其挑战“翻译”与“改编”这两个概念。他们都不会希腊文,是借助不同的英文译本创作出新的剧本,这已超出单纯翻译的范畴。传统上,翻译被认为是紧跟源文本的再创作,赋予源文本“不证自明的首要位置和权威……比较的话语是忠实和对等”(Hutcheon and O'Flynn 16)。单纯意义上的翻译通常企图捕捉源文本最精确的版本,译者不能随意增添或删改,以保证源文本的意义不被改变。而改编则从这一过程中抽离出来,刻意改变源文本的意义,植入改编者自己的观点和艺术视角。换言之,改编行为既需要让改编文本与源文本有可辨认度,又需要增加新的东西,以体现剧作家的原创性。正是在这样的过程中,剧作家的翻译和改编行为合二为一,因为这一翻译不再是直译,比起源文本来,有了新的内容,而与此同时又保留辨识度,没有与源文本脱离联系。正如哈钦所言:“就对某些特定文本公开宣称全面地重写来说,改编常常是和翻译相提并论的”(16)。
Auden,W.H.Forewords.The Portable Greek Reader.Ed.W.H.Auden.London:Penguin,1977.1-9.
Bhabha,Homi K."Cultural Diversity and Cultural Differences."The Post-Colonial Studies Reader.Ed.Bill Ashcroft,Gareth Griffiths and Helen Tiffin.New York:Routledge,2006.206-12.
Carr,Marina.Introduction.Carr ix-x.
—.Marina Carr:Plays 3.London:Faber and Faber,2015.
Cavendish,Dominic."Review of McGuinness'Hecuba:Tragedy of War."The Telegraph 30 Aug.2004.Web.12 Nov.2018.
Chacon,Maria del Mar Gonzalez."Re-examining and Redeeming the Tragic Queen:Euripides'Hecuba inTwo Versions by Frank McGuinness(2004)and Marina Carr(2015).Complutense Journal of English Studies 24.1(2016):25-41.
Deleuze,Gilles.Difference and Repetition.Trans.Paul Patton.London:Continuum,2004.
Dicecco,Nico."The Aura of Againness:Performing Adaptation."The Oxford Handbook of Adaptation Studies.Ed.Thomas Leitch.Oxford:Oxford UP,2017.607-24.
Donaldson,Kayleigh."Hecuba:Dundee Rep-Theatre Review."Female Arts 6 Nov.2013.Web.12 Nov.2018.
Dubost,Thierry,ed.Drama Reinvented:Theatre Adaptation in Ireland 1970-2007.Brussels:Peter Lang,2012.
Guterres,Antonio."Opening Remarks at 66th Session of the Executive Committee of the High Commissioner's Programme."UNHCR.Geneva.5 Oct.2015.Web.13 Nov.2018.Hall,Edith.Introduction.Dionysus Since 69:Greek Tragedy at the Dawn of the Third Millennuium.Ed. Edith
Hall,Fiona Macintosh and Amanda Wrigley.Oxford:Oxford UP, 2005.1-46.
Heaney,Seamus.The Cure at Troy:A Version of Sophocles'Philoctetes.London:Faber and Faber,1990.
Hutcheon,Linda,and Siobhan O'Flynn.A Theory of Adaptation.London:Routledge,2013.
Kolb,Matthieu."A Doll's House by Frank McGuinness:An Expression of Irish Cosmopolitanism?,,Dubost112-30.
Laera,Margherita.Introduction.Theatre and Adaptation:Return,Rewrite,Repeat.Ed.Margherita Laera.London:Bloomsbury,2014.
—.Reaching Athens:Community,Democracy and Other Mythologies in Adaptations of Greek Tragedy.Bern:Peter Lang,2013.
McDonald,Marianne."Classics as Celtic Firebrand:Greek Tragedy,Irish Playwrights and Colonialism."Theatre Stuff.Ed.Eamonn Jordan.Dublin:Carysfort,2000.16-26.
—."The Irish and Greek Tragedy."Amid Our Troubles:Irish Versions of Greek Tragedy.Ed.Marianne McDonald and J.Michael Walton.London:Methuen,2002.
—."Rebel Women:Brendan Kennelly's Versions of Irish Tragedy."New Hibernia Review 9.3(2005):123-36.McGuinness,Frank.Euripides'Hecuba in a New Version.London:Faber and Faber,2004.
Paulin,Tom.The Riot Act:A Version of Sophocles'Antigone.London:Faber and Faber,1985.
Pelletier,Martine."Field Day Revisits the Classics:Tom Paulin's The Riot Act."Dubost 84-93.
Rees,Catherine.Adaptation and Nation:Theatrical Contexts for Contemporary English and Irish Drama.London:Palgrave Macmillan,2017.
Roche,Anthony."Ireland's Antigones:Tragedy North and South."Cultural Contexts and Literary Idioms in Contemporary Irish Literature.Ed.Michael Keneally.London:Gerrard's Cross,1988.221-50.
Salis,Loredana."'The Root of All Evil':Frank McGuinness'Translations of Greek Drama."A Journal of Irish Studies 36.4(2014):145-60.
Sanders,Julie.Adaptation and Appropriation.London:Routledge,2006.
Teevan,Colin."Northern Ireland:Our Troy?Recent Versions of Greek Tragedies by Irish Writers."Modern Drama 41.1(1998):77-89.
Williams,Holly."The RSC's New Hecuba:A Vengeful Queen with a Difference."Independent 23 Sept.2015.Web.23 Nov.2018.
Wilmer,Steve."Greek Tragedy as a Window on the Dispossessed."New Theatre Quarterly 33.3(2017):277-87.Zizek,Slavoj.Organs with Bodies:On Deleuze and Consequences.New York:Routledge:2004.
(1)《安提戈涅》是当代爱尔兰剧作家改编最多的古希腊悲剧作品。1999年至2008年又出现5个改编的版本,分别是希尼、多尼兰(Declan Donellan)、麦克多纳德、莫里森(Conall Morrison)、麦克卡非尔迪(Owen McCafferty)的版本。
(1)爱尔兰作家对古希腊悲剧的改编尤其挑战“翻译”与“改编”这两个概念。他们都不会希腊文,是借助不同的英文译本创作出新的剧本,这已超出单纯翻译的范畴。传统上,翻译被认为是紧跟源文本的再创作,赋予源文本“不证自明的首要位置和权威……比较的话语是忠实和对等”(Hutcheon and O'Flynn 16)。单纯意义上的翻译通常企图捕捉源文本最精确的版本,译者不能随意增添或删改,以保证源文本的意义不被改变。而改编则从这一过程中抽离出来,刻意改变源文本的意义,植入改编者自己的观点和艺术视角。换言之,改编行为既需要让改编文本与源文本有可辨认度,又需要增加新的东西,以体现剧作家的原创性。正是在这样的过程中,剧作家的翻译和改编行为合二为一,因为这一翻译不再是直译,比起源文本来,有了新的内容,而与此同时又保留辨识度,没有与源文本脱离联系。正如哈钦所言:“就对某些特定文本公开宣称全面地重写来说,改编常常是和翻译相提并论的”(16)。