＂Stay, Illusion!＂: The Image of the Ghost in Three Japanese Interpretations of Hamlet during the Meiji Period

「留下，幻覺！」：明治時期《哈姆雷特》詮釋中縈繞記憶之日本鬼魅

10.6271/fd.2014.24.1.03

陳怡伶(Yi-Lin Chen)

《哈姆雷特》 ； 明治時期戲劇改革 ； 盜用 ； 改編 ； 文化轉譯 ； Hamlet ； theatrical reforms in the Meiji period ； appropriation ； adaptation ； cultural translation

小說與戲劇

24卷1期（2014 / 12 / 01）

73 - 103

英文

從十九世紀末以來，《哈姆雷特》被盜用、改編並轉譯成日文。在明治時期，《哈姆雷特》中的鬼魂至少以三種不同形式搬演。仮名垣魯文（Kanagaki Robun）的歌舞伎改編《葉武列土倭錦繪》（Hamuretto Yamato Nishikie 1876），將哈姆雷特父親描繪成是由狐妖幻化成人形的角色。在山岸荷葉（Yamagishi Kayô）和土肥春曙（Dohi Shunsho）改編的《哈姆雷特》（1903），川上音二郎（Kawakami Otojiro）飾演哈姆雷特之父變成一個可憐的鬼魂。坪內逍遙（Tsubouchi Shôyô）翻譯的《哈姆雷特》（1911）在以西方寫實劇場為模範的新劇（Shingeki）舞台上演，哈姆雷特之父的鬼魂形象與其說像是軍中司令官，毋寧說像是悲慘187的受害者。哈姆雷特老父的多元形象與積極吸收西方文化有關。1880年代，川上和他的新派實踐者開始效法西方劇場改良歌舞伎舞台。新派運動在坪內將新劇介紹到日本舞台後，逐漸式微。當西化隨著時間與日劇增，與西方搬演方式的妥協變成必要。本論文檢視選定作品中的舞台指示和設備，詳述以何種方式將哈姆雷特老父塑造成日本觀眾所能感同身受的鬼魂。同時，也證明戲劇改革影響鬼魂的扮演到何種程度，闡明將鬼魂從某文化轉譯成另一文化時，某種程度的盜用是不可或缺的。

In the late nineteenth century, Hamlet was appropriated, adapted and translated into Japanese. The ghost in Hamlet was thus represented in at least three different styles during the Meiji period. Kanagaki Robun’s Kabuki adaptation, Hamlet with Japanese Woodblock Prints, presented King Hamlet as a fox demon in human form. In Yamagishi Kayô and Dohi Shunsho’s adaptation of Hamlet (1903), King Hamlet became a pathetic ghost, performed by the Shimpa advocate, Kawakami Otojiro. Tsubouchi Shôyô’s translation of Hamlet (1911) was staged in the Shingeki theatre (New Theatre), also known as the western realist theatre, and the ghost in this production was a wretched victim rather than a military commander. These diverse images of King Hamlet are related to the sudden and radical adoption of western culture at this time in Japanese history. In the 1880s, Kawakami and his Shimpa practitioners began to learn from western theatre and apply this knowledge to the Kabuki stage. The Shimpa movement then gradually declined after Tsubouchi brought the Shinengeki to the Japanese stage. As the process of westernization deepened with the passage of time, it became necessary to find ways to integrate Japanese theatrical practices western staging. This paper examines stage directions and devices of the selected productions to detail the ways in which King Hamlet was fashioned into a ghost that was familiar to the Japanese audience. It also demonstrates the extent to which theatrical reforms affected the representation of the ghost, and claims that a degree of appropriation is essential when translating the ghost from one culture to another.

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