想像的「西方」：1960-1970年代西洋劇本的翻印與翻譯

The Imaginary “West”: Reprinting and Translation of Western Scripts in the 1960-1970s

本文主要以臺灣在1960年代的「復興崗翻譯叢書」及1970年代的「淡江西洋現代戲劇譯叢」為研究議題。這兩套譯書皆是由大專院校所主導的翻印／翻譯計畫，在臺灣戲劇翻譯史上可謂是絕無僅有。它既代表著一段隱晦的翻譯史，同時也反映著戲劇文學的變動與成長，它更是填補了彼時臺灣對於西洋戲劇文學認知與學習的真空狀態。當我們細究此一時期的戲劇發展，西洋劇本的譯介雖然在商業劇場的演出中未能造成迴響，但卻在校園的劇場及課堂上默默地影響著無數的青年學子。此外，唯有透過西洋翻譯劇本的譯介，劇作家才有得以模仿及學習的對象。當劇作家積累足夠的養分後，才能發展出屬於臺灣的現代戲劇。因此，這不僅說明了翻譯與創作間承繼及影響的可能，也反映著西方戲劇思潮與臺灣戲劇發展交匯的痕跡。 本文透過戲劇史的視角重新理解這兩套譯叢，瞭解它發展的成因及其可能的影響，並對它們的不足與局限賦予寬容的理解。它拓展了彼時戲劇愛好者的視野──儘管是被選擇的、被侷限的──也讓彼時的臺灣能在現代戲劇思潮的衝擊與碰撞下，得以緩步地成長與茁壯。這兩套翻譯叢書的時代意義不僅僅止於戲劇文學的強行輸入而已，它更是往後臺灣戲劇發展的鋪墊與基石。

 

This study mainly focuses on “Fuxinggang Translation Series” in the 1960s and “Tamkang Western Modern Drama Translation Series” in the 1970s in Taiwan as the research topics. Both translation series are the reprinting/translation projects led by universities and colleges, and they are unique in the history of Taiwanese drama translation. They not only represent an obscure translation history, but also reflect the changes and growth of drama literature. They have filled the blank of Taiwan’s cognition and learning of Western drama literature at that time. When we probe into the development of drama in this period, although the translations of Western scripts failed to resonate in commercial theater performances, they silently influenced countless young students in campus theaters and classrooms. In addition, only through the translation of Western scripts can playwrights have an object to imitate and learn. Once playwrights have accumulated enough experiences, they can develop modern drama belonging to Taiwan. Therefore, these translation series not only explain the possibility of inheritance and influence between translation and creation, but also reflect the intersection of Western drama thought and the development of Taiwanese drama. This study re-investigates these two translation series from the perspective of drama history, understands the causes of their development and their possible impact, and gives a tolerant understanding of their deficiencies and limitations. They expanded the horizons of drama enthusiasts at that time--although they were selected and limited--and allowed Taiwan at that time to grow and thrive slowly under the impact and collision of modern drama thoughts. The significance of these two translation series is not limited to the forcible input of drama literature. They are also the foundation and cornerstone of the future development of Taiwanese drama.