五反田寬《洗》劇作翻譯及其研究

Abstract

前行研究多聚焦於五反田寬（Philip Kan Gotanda）對於集中營經驗的追溯式書寫，本文則選擇聚焦在寫作主體之外的寫作形式，一方面指出五反田寬劇作的藝術性，另一方面強調在作品承載的議題性之外，還應追問日裔劇作家和亞美劇場更為深層的互動關係。本文由五反田寬創作劇本《洗》（The Wash）的劇本翻譯開啟，具體分析其所採取的寫作形式與寫作風格，本文試圖藉由理解五反田寬在文化符號和劇本創作的交織中如何實踐主動形塑文化形象，同時兼而處理劇作家自身創作主體的變化，將個人的寫作在亞美劇場書寫傳統生成的歷程中創造出審美意義。更重要的是，本文試圖從亞美劇場各族裔中辨認五反田寬作為日裔劇作家的聲音，以期在前行研究者所建構的創傷書寫者五反田寬與追尋自我認同者五反田寬之外，發現日裔劇作家五反田寬介入亞美劇場發展的其他可能。此外，本文也著墨於五反田寬劇作《洗》的翻譯價值和導演策略。

Previous research has often focused on Philip Kan Gotanda’s retrospective writing about the internment camp experience. This paper, however, chooses to focus on the writing form rather than just the subject matter, pointing out the artistic value of Gotanda’s plays while emphasizing the deeper interactive relationship between Japanese American playwrights and Asian American theater beyond the issues presented in the work. This paper begins with the translation of Gotanda’s play The Wash, providing a detailed analysis of its writing form and style. It attempts to understand how Gotanda practices active cultural image-shaping through the intersection of cultural symbols and scriptwriting while also addressing the changes in the playwright’s own creative identity. Gotanda’s personal writing creates aesthetic meaning within the generative process of Asian American theater traditions. More importantly, this paper seeks to identify Gotanda’s voice as a Japanese American playwright within the various ethnic groups in Asian American theater, aiming to discover other potential aspects of Gotanda's involvement in Asian American theater development, beyond the image of Gotanda as a trauma writer and as a seeker of self-identity constructed by previous researchers. Additionally, this paper also focuses on the translation value and directing strategies of Gotanda’s play The Wash.