臺灣劇場的多重文學改編

Abstract

受公部門推動影響，加之編劇人才的缺乏，文學改編為劇場演出的案例逐年增加，呈現出形式多樣、合作模式多元的特色。特別是在IP產業蓬勃發展的背景下，出版社、製作公司與劇團之間的跨域合作亦日益頻繁。有鑑於此，本文探究台灣劇場的文學改編發展，從中觀察劇場創作者在當前產業環境中所採取的應對策略與創作動因，梳理台灣劇場在文學改編的過去歷程、當前景況與未來願景，最終聚焦台灣劇場因應當代IP產業而出現的發展趨勢與改編策略。 本文研究方法包括文獻分析與半結構式訪談，從中建立對「文學劇場」、「改編」、「IP」等關鍵詞彙的理論架構。訪談部分聚焦劇場工作者，深描其各自異質的創作動機、改編歷程、合作經驗與觀眾回饋，進一步理解他們如何在多樣的合作模式中重新詮釋文學作品。本文不以「忠於原著」作為改編評價的標準，而是借鏡Roland Barthes所提出的「互文性」概念，視改編為創作者與文本互動下所生成的獨立創作。 研究發現，因應IP產業的發展，近年台灣劇場的文學改編路徑，除了劇團本身自發性地做文學改編創作外，呈現出新的兩類趨勢。其一為出版社或製作公司主動邀請劇團合作，將文學IP劇場化，並由具備資源與行銷能力的商業公司主導，藉由資金挹注與媒體操作，提升劇場作品的市場可見度。代表性案例包括：夢田文創改編駱以軍《小兒子》、寬想娛樂推出《婚內失戀》、鏡文學改編漫畫《神明便利商店》等，在在體現IP導向的製作邏輯。其二為劇團主導策畫，運用不同媒介進行延伸創作，藉由多媒體與異質文本的結合運用，自主策畫掌握改編內容與風格。代表性案例包括：果陀劇場開發原創劇作《人生清理員》改編至電視電影以及影集、三點水製藝改編遊戲IP《雨港基隆》、貪食德工作室將漫畫《冥戰錄》與《陰間條例》發展為互動式舞台演出，盡皆展現劇場如何在小眾環境中尋找突破。 藉由對這兩類改編模式的縝密分析，本文進一步深析其背後隱含的產業現實與創作限制。本文指出，在商業操作與文學改編的交錯中，改編的重點逐漸從文本忠實再現轉向資源分配與市場導向的考量。此中，哪些聲音被排除於產業之外？劇團在多媒介開發過程中如何思索創作初衷？這些關鍵問題皆在本文中一一展開，映照文學劇場於當代IP產業潮流下的機會與困境。

Driven by government initiatives and influenced by the ongoing shortage of professional playwrights, the number of theater productions adapted from literature in Taiwan has steadily increased in recent years. These adaptations exhibit a growing diversity in form and collaborative models. Particularly under the thriving development of the intellectual property (IP) industry, cross-sector collaborations among publishers, production companies, and theater troupes have become increasingly common. In light of this, this study investigates the development of literary adaptation in Taiwan theater, with a focus on how theater practitioners respond to current industrial conditions through specific strategies and creative motivations. The research outlines the historical trajectory, present condition, and future prospects of Taiwan literature in theater, ultimately concentrating on the trends and adaptation strategies that have emerged in response to the evolving IP landscape. This study employs a methodology combining literature review and semi-structured interviews to construct a theoretical framework around key concepts such as “literary theater,” “adaptation,” and “IP.” The interview portion focuses on theater practitioners, offering in-depth narratives of their heterogeneous creative motivations, adaptation processes, collaborative experiences, and audience responses. Through these perspectives, the study seeks to understand how creators reinterpret literary works across a range of collaborative structures. Rather than assessing adaptations based on fidelity to the original text, this research draws on Roland Barthes’ concept of intertextuality, framing adaptation as an independent act of creation arising from the interaction between creator and text. Findings reveal that, in response to the growing influence of the IP industry, recent developments in Taiwan literature adaptation for theater follow two distinct emerging paths in addition to the traditional, troupe-initiated model. The first trend involves publishers or production companies initiating collaborations with theater troupes to adapt literary IPs for the stage. These projects are typically driven by commercial entities with financial and marketing resources, aiming to enhance the visibility of theatrical productions through investment and media promotion. Representative examples include Dreamland Image’s adaptation of Lo Yi-Chin’s The Little Boy, Big Think International Entertainment’s Hello Marriage, Goodbye Love, and Mirror Fiction’s stage version of the comic God’s Convenience Store, all of which reflect the logic of IP-centered production. The second trend is led by theater troupes that initiate and manage adaptation projects independently. These productions often incorporate multimedia elements or integrate with other forms of textual and visual content, allowing the theater creators to maintain control over the adaptation’s style and direction. Notable cases include Godot Theatre Company’s adaptation of its original play The Cleaner into a television movie and series, 3Aqua Production’s adaptation of the game IP The Rainy Port Keelung, and How To Eat Faust Studio’s interactive stage performances based on comics The Apocalypse Of Darkness and Rules of the Underworld. These examples demonstrate how theater companies, even within niche cultural spaces, seek creative breakthroughs through adaptive innovation. By closely analyzing these two emerging modes of adaptation, this study further explores the underlying industrial structures and creative constraints that shape them. It argues that the focus of adaptation has increasingly shifted away from faithful reproduction of literary texts toward considerations of resource allocation and market orientation. Within this shift, several critical questions arise: Which voices are excluded from the IP-driven cultural industry? How do theater troupes reflect on their original creative intentions during multi-platform development? These questions are examined throughout the study, in an effort to map both the opportunities and challenges facing Taiwan literature in theater amid the broader currents of the contemporary IP industry.